tag:blogger.com,1999:blog-60392371246001337532015-02-26T22:34:20.114-05:00Music for DrummersDeltona, FloridaMike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.comBlogger125125tag:blogger.com,1999:blog-6039237124600133753.post-47077162642333747682012-11-01T13:21:00.000-04:002012-11-01T13:48:14.392-04:00Gene KrupaThere are a few reasons why I am writing this post today. First, I recently purchased a box set of Gene's work titled <a href="http://www.amazon.com/dp/B003GE69NO?tag=miketarraslifecy" TARGET="_AMZN">Kind of Krupa</a><br><center><a href="http://www.amazon.com/dp/B003GE69NO?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofkrupa.jpg"></a></center><p>Second, this would have been <a href="http://karenkarr.tarrani.com/" TARGET="_karrkik">Karen I. Karr</a>'s 59th birthday. Karen was a big fan of Gene, and took pride in the fact they they shared Chicago as their birthplace and home town, and the fact that both were Polish-American. Of course, Karen <a href="http://www.volusiagig.com/karenmusic/" TARGET="_karenmusic">loved music</a>, so today's post is in the memory of my muse who was all things to me, and a great drummer who inspired me, the generation before me, and subsequent generations of drummers. In the bio pic <a href="http://www.amazon.com/dp/B00007KLHP?tag=miketarraslifecy" TARGET="_AMZN">Swing, Swing, Swing</a> Mel Torme was quoted as saying that <i>the name Krupa would forever be associated with drums</i>. I truly believe that.<p>About the box set, <a href="http://www.amazon.com/dp/B003GE69NO?tag=miketarraslifecy" TARGET="_AMZN">Kind of Krupa</a>: discs in the set contain tracks spanning the period 1935 through 1959. They span Gene's work in big bands (notably Benny Goodman's and his own orchestras), as well as small ensembles.<p>The first disc in the set is basically an album simply titled <a href="http://www.amazon.com/dp/B003EJBV34?tag=miketarraslifecy" TARGET="_AMZN">V Discs</a>, which were recorded for the US armed forces in World War II. Here is a sample track:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/xKnhFw_PsOs?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xKnhFw_PsOs?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The next two discs are from two albums featuring drum battles between Gene and Buddy Rich. The first is <a href="http://www.amazon.com/dp/B000W03J88?tag=miketarraslifecy" TARGET="_AMZN">Krupa and Rich</a> that was recorded in New York in 1955 and features Gene and Buddy on drums backed by the Oscar Peterson Trio (Oscar on piano, Ray Brown on bass and Herb Ellis on guitar), plus Roy Eldridge and Dizzy Gillespie on trumpet, and Illinois Jacquet and Flip Phillips on tenor saxophone (Phillips also plays clarinet. The second is <a href="http://www.amazon.com/dp/B00000JWO1?tag=miketarraslifecy" TARGET="_AMZN">Drum Battle</a> that was recorded live at one of <a href="http://drumz4sale.blogspot.com/2010/03/norman-granz-angel-in-disguise.html" TARGET="_granz">Norman Granz</a>' Jazz At The Philharmonic concerts in Carnegie Hall in New York on September 13, 1952. Musicians include Willie Smith (alto sax) and Hank Jones on piano, and features Ella Fitzgerald on Perdido. Here is a clip from that album, which has a lot more energy than the 1955 studio drum battle:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/psYsJAYGn1Q?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/psYsJAYGn1Q?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"><p></embed></object></center><p>Discs 4 through 7 are comprised of tracks span 1936 through 1949, which include some excellent <a href="http://drumz4sale.blogspot.com/2010/04/anita-oday-jezebel-of-jazz-drummers.html" TARGET="_anita">Anita O'Day</a> performances. In fact, my 26 August 2012 post titled <a href="http://drumz4sale.blogspot.com/2012/08/anita-oday-in-depth-part-3.html" TARGET="_anita2">Anita O'Day in depth Part 4</a> covers some of the source albums for this disc as well as some video clips. The iconic Anita and Roy Eldridge performance of Let Me Off Uptown makes checking out that page worthwhile.<p>The Benny Goodman years is the focus of disc 8. It contains highlights from his 1935-38 performances with Goodman's big bands, as well as trio and quartet ensembles that featured Gene and Benny with Teddy Wilson on piano in the trio, with Lionel Hampton on vibraphone in the quartet. There are also tracks from the great 1938 Carnegie Hall concert. Here are some representative clips:<br><center><object width="640" height="360"><param name="movie" value="http://www.youtube.com/v/6TED6XVLiDs?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6TED6XVLiDs?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/zBs9gZQX7lQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/zBs9gZQX7lQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="640" height="360"><param name="movie" value="http://www.youtube.com/v/0NigiwMtWE0?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/0NigiwMtWE0?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The complete album titled <a href="http://www.amazon.com/dp/B0094JZYGI?tag=miketarraslifecy" TARGET="_AMZN">Complete Sextet Studio Sessions (featuring Ben Webster & Charlie Shavers)</a> comprises disc 9. The original album was recorded in New York in 1953. Gene on drums is backed by Ben Webster and Eddie 'Lockjaw' Davis on tenor saxophone, Charlie Shavers on trumpet, Bill Harris on trombone, Teddy Wilson on piano and Ray Brown on bass. Unfortunately I do not have a clip to share of this album, but suffice to say, Webster and Shavers make it a treat. If you go to the album link you can listen to sound samples, which are indicative of the great music it contains.<p>The final disc in the set is the entire 1958 album titled <a href="http://www.amazon.com/dp/B000WIO038?tag=miketarraslifecy" TARGET="_AMZN">Plays Gerry Mulligan Arrangements</a>. Gerry was an alumni of Gene's big band and served as arranger and conductor for the New York recording session. The big band was comprised of: Al DeRisi, Marky Markowitz, Ernie Royal, Doc Severinsen and Al Stewart on trumpet; Eddie Bert, Billy Byers, Jimmy Cleveland Trombone, Willie Dennis, Urbie Green and Kai Winding on trombone; Sam Marowitz and Phil Woods on alto saxophone; Frank Socolow and Eddie Wasserman on tenor saxophone and Danny Bank on baritone saxophone. The rhythm section was comprised of Gene on drums, Hank Jones on piano, Barry Galbraith on guitar and Jimmy Gannon on bass. Here are some clips from that album:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/A3tK8ipRDWQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/A3tK8ipRDWQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/2MjCvkq0ucY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/2MjCvkq0ucY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>For more about the set, including a complete track list see <a href="http://www.amazon.com/review/R19N6MNZ9VSBL1/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=B003GE69NO&linkCode=&nodeID=&tag=miketarraslifecy" TARGET="_AMZN">my review</a>.<p>There are some excellent web sites that pay tribute to Gene. One, <a href="http://www.gkrp.net/index.html" TARGET="_gkrp">The Gene Krupa Reference Page</a> has been running for as long as I can remember. If you dig through the pages and links you will find a wealth of information about Gene. Also, the <a href="http://www.gkrp.net/links.html" TARGEY="_lks">links</a> that are provided to other sites point to even more information that is worth perusing.<p>I highly recommend the bip pic titled <a href="http://www.amazon.com/dp/B00007KLHP?tag=miketarraslifecy" TARGET="_AMZN">Swing, Swing, Swing</a> as a fairly complete and factual portrayal of Gene's life.<br><center><a href="http://www.amazon.com/dp/B00007KLHP?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/swingswingswing.jpg"></a></center><p>Also of value is this two part interview:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/CmwUKPg5n8g?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/CmwUKPg5n8g?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/OHguMPP1EtE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/OHguMPP1EtE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>As a parting shot I am including this video titled Gene Krupa and Friends - Legends in Concert. I hope you enjoy it.<p><center><object width="640" height="360"><param name="movie" value="http://www.youtube.com/v/xWND8iZQqo4?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xWND8iZQqo4?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The remainder of my day will be spent honoring the memory of <a href="http://karenkarr.tarrani.com/" TARGET="_karrkik">Karen I. Karr</a>. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0Deltona, FL, USA28.9005446 -81.263673828.7893356 -81.4216023 29.0117536 -81.105745300000009tag:blogger.com,1999:blog-6039237124600133753.post-85268280763727747932012-10-24T11:47:00.001-04:002012-10-25T00:56:30.201-04:00 Piano: the other percussion instrument Part 3My first post in this series was simply titled <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_piano1">Piano: the other percussion instrument</a>, with <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument-part-2.html" TARGET="_piano2">Part 2 - examples</a> posted on its heels. The motivation for posting a third part in the series is the discovery of an excellent thesis by Thomas Andrew Van Seters and some new albums on the market.<p>The thesis is titled <a href="http://www.volusiagig.com/music/pianiaspercins.pdf" TARGET="_m4d">Eighty-Eight Drums: The Piano as a Percussion Instrument in Jazz</a> and is comprehensive, and not the typical dry fare of academia. I found it engaging, and an easy read. It helps if you can read music and have some understanding of theory, but that is not absolutely required. If you find yourself drawn by the history and want to explore some of the true beginnings, check out <a href="http://drumz4sale.blogspot.com/2010/03/unique-perspectives-on-blues-and-jazz.html" TARGET="_m4d">Unique perspectives on blues (and jazz)</a>. If you are not <i>that</i> curious, but are still interested in the evolution of jazz, I recommend <a href="http://www.amazon.com/dp/0486217264?tag=miketarraslifecy" TARGET="_AMZN">Hear Me Talkin' to Ya: The Story of Jazz As Told by the Men Who Made It</a>.<p>On to some of the new albums I mentioned. Two of them were previously mentioned in <a href="http://drumz4sale.blogspot.com/2012/10/b3s-and-other-keys-kenny-clarke-and.html" TARGET="_m4d">my 05 October 2012 post</a>, so I won't repeat myself here: <ol><li><a href="http://www.amazon.com/dp/B004AJARIM?tag=miketarraslifecy" TARGET="_AMZN">Kind of Powell</a></li><li><a href="http://www.amazon.com/dp/B004BJZLGO?tag=miketarraslifecy" TARGET="_AMZN">Kind of Silver</a></li></ol>The other two are <a href="http://www.amazon.com/dp/B001V76F9G?tag=miketarraslifecy" TARGET="_AMZN">Kind of Monk</a> and <a href="http://www.amazon.com/dp/B002JVHFB0?tag=miketarraslifecy" TARGET="_AMZN">Kind of Peterson</a>. Note that Powell and Monk are two of my <a href="http://drumz4sale.blogspot.com/2012/08/my-personal-mount-rushmore.html" TARGET="_m4d">holy trinity of pianists</a>.<p>Regardless of your interest in piano - as a percussion instrument or otherwise - Thelonious Monk should be on your list of music to study. If for no other reason, you should dig into his music because of the drummers he recorded with: Ben Riley, Shadow Wilson, Philly Joe Jones and Frankie Dunlop to name but a few. More importantly, Monk had an amazing rhythmic feel and did things with time that will challenge you no matter how solid you are. Still not convinced? Check out <a href="http://drumz4sale.blogspot.com/2012/09/thelonious-monk-american-genius-and.html" TARGET="_m4d">Thelonious Monk: American genius and drummer's patron saint</a>. If your interest is piqued, then do grab <a href="http://www.amazon.com/dp/B001V76F9G?tag=miketarraslifecy" TARGET="_AMZN">Kind of Monk</a>:<br><center><a href="http://www.amazon.com/dp/B001V76F9G?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofmonk.jpg"></a></center><p>Here is a taste to whet your appetite - Monk with Philly Joe Jones:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/xUAwzzD0wJY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xUAwzzD0wJY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The next set that is new on the market and well worth snagging is <a href="http://www.amazon.com/dp/B002JVHFB0?tag=miketarraslifecy" TARGET="_AMZN">Kind of Peterson</a>. You will be treated to not only one of the world's great pianists (Oscar ranked up there with Art Tatum), but a masterclass in tasteful brushwork from Ed Thigpen, plus amazing examples of how <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d">drummers and bassists can work magic</a> thanks to Ray Brown.<br><center><a href="http://www.amazon.com/dp/B002JVHFB0?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofpeterson.jpg"></a></center><br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/4bn2jNJCqpg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4bn2jNJCqpg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I'll wrap up with one final clip of a pianist you should be studying: Nina Simone. Her style was percussive and driving as shown here:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/6VDJzV0LpOc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6VDJzV0LpOc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Check out <a href="http://www.amazon.com/dp/B0052Q2QG8?tag=miketarraslifecy" TARGET="_AMZN">Nina Simone's Greatest Hits</a> for some excellent examples. Also check out <a href="http://drumz4sale.blogspot.com/2012/08/nat-king-cole-trio-lesson-in-rhythm.html" TARGET="_m4d">Nat King Cole Trio</a> for even more examples, and this time sans drummer.<p>Hopefully I will return to more regular posting here. Life sometimes gets in the way, but this should keep you busy if you follow all of the links. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-35827139073321635212012-10-09T00:01:00.000-04:002012-10-09T00:01:00.805-04:00Early jazz TVIn <a href="http://drumz4sale.blogspot.com/2012/10/a-nostalgia-trip-to-1957.html" TARGET="_m4d">A nostalgia trip to 1957</a> I posted the entire 8 December 1957 CBS special broadcast titled A Sound of Jazz. This broadcast is in the public domain, as are a number of excellent episodes from 1958's Art Ford Jazz Party broadcasts. Here is a legal source for downloading them: <a href="http://archive.org/details/ArtFordsjazzParty1958" TARGET="_archive">Archive.org</a>, and here are the episodes that you can watch right here to determine if you want to download them:<p><center>Art Ford's Jazz Party 18 September 1958<br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/nI9yDJMTEyc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nI9yDJMTEyc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><p>Art Ford's Jazz Party 09 October 1958<br> <object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/MPcQNw2F0H8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MPcQNw2F0H8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><p>Art Ford's Jazz Party 25 December 1958 - A Tribute to Jazz pioneer <a href="http://www.nps.gov/jazz/historyculture/bolden.htm" TARGET="_bbolden">Buddy Bolden</a><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/OOpH3WQ6O2Q?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/OOpH3WQ6O2Q?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Whole the above are free, there is another collection of TV broadcasts that are not: Ralph Gleason's series of half-hour programs for the U.S. National Education Television Network titled <i>Jazz Casual</i>. This series ran from 1961 to 1968. Including the pilot there were a total of 31 episodes, but only 28 of them have survived, and are offered in <a href="http://www.amazon.com/dp/B00069KWEE?tag=miketarraslifecy" TARGET="_AMZN">Jazz Casual: The Complete Series</a><br><center><a href="http://www.amazon.com/dp/B00069KWEE?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jccomplete.jpg"></a></center><p>Mark Sabbatini's <a href="http://www.allaboutjazz.com/php/article.php?id=15939&pg=2&page=1" TARGET="_aajrev">review</a> is so complete and frank that I do not feel that I can add anything to it. I will, however, provide a few clips to show what this set contains, as well as attest that I hold the set to be a treasure.<p><center><object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/236822229673901"></param><embed src="http://www.facebook.com/v/236822229673901" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object> <object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/236823633007094"></param><embed src="http://www.facebook.com/v/236823633007094" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/ZmBTlJBWiSo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ZmBTlJBWiSo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Even if the <a href="http://www.amazon.com/dp/B00069KWEE?tag=miketarraslifecy" TARGET="_AMZN">Jazz Casual: The Complete Series</a> is outside your budget, you can still enjoy the Art Ford episodes both free and legally. There are treasures on the web! Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0Deltona, FL, USA28.9005446 -81.263673828.7893356 -81.4216023 29.0117536 -81.105745300000009tag:blogger.com,1999:blog-6039237124600133753.post-15269844235313120832012-10-08T00:01:00.000-04:002012-10-08T01:43:03.467-04:00Another exercise in critical listening: contrasts and comparisonsIn a recent post on 05 October 2012 titled <a href="http://drumz4sale.blogspot.com/2012/10/why-bix-mattered.html" TARGET="_wbixm">Why Bix Mattered</a> I was reinforcing a still earlier post titled <a href="http://drumz4sale.blogspot.com/2012/05/understanding-music-through-critical.html" TARGET="_m4d">Understanding music through critical listening</a>. In this post I am going to provide an album recommendation that will build skills in both contrasting music styles, as well as comparing ensembles. In both cases the same songs will be used on the contrast and compare exercises.<p>The album is a compilation titled <a href="http://www.amazon.com/dp/B000C9IHJ0?tag=miketarraslifecy" TARGET="_AMZN">Hot vs Cool - Cats vs Chicks</a><br><center><a href="http://www.amazon.com/dp/B000C9IHJ0?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/catschicks1.jpg"></a></center><p><a href="http://en.wikipedia.org/wiki/Leonard_Feather" TARGET="_wiki">Leonard Feather</a> - critic, composer and pianist - was behind the two albums that comprise this compilation. The first half was originally issued in 1952 as MGM E194, <a href="http://www.amazon.com/dp/B005F65R0W?tag=miketarraslifecy" TARGET="_AMZN">Hot Vs. Cool</a>. The other half was issued in 1954 as MGM E255, <a href="http://www.amazon.com/dp/B008VEW3AM?tag=miketarraslifecy" TARGET="_AMZN">Leonard Feather Presents Cats Vs Chicks: A Jazz Battle of the Sexes</a><p>Tracks 1 through 8, <a href="http://www.amazon.com/dp/B005F65R0W?tag=miketarraslifecy" TARGET="_AMZN">Hot Vs. Cool</a>, pit traditional jazz against bebop. Put into context, jazz itself was on the verge of imploding during the period in which these tracks were recorded. Actually, it came to a head in the late 1940s, but the battle was still hot in the early 1950s when a group of musicians and their fans doggedly held on to the older style. They were termed 'moldy figs' by the bebop musicians who did not enjoy the same wide fan base because their music was more for musicians than average listeners. Feather was more biased toward that group.<br><center><a href="http://www.amazon.com/dp/B005F65R0W?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/hotcool.jpg"></a></center><p>This album, then, was meant to contrast the two styles more than compare them. The traditional musicians were led by cornetist Jimmy McPartland, and included Vic Dickenson on trombone, Edmond Hall on clarinet, Dick Cary on both piano and trumpet, Jack Lesberg on bass and George Wettling on drums.<p>The bebop musicians were led by Dizzy Gillespie on trumpet, multi-instrumentalist Don Elliott on mellophone and trumpet, Buddy DeFranco on clarinet, Ray Abrams on tenor saxophone, Ronnie Ball on piano, Al McKibbon on bass and Max Roach on drums.<p>Regretfully I do not have clips for these tracks, so I will give you my highly subjective take on this part of the album: the contrast, as expected, between the two styles on the same songs is significant. None of the tracks on either side of the musical divide are remarkable by today's standards, although as a drummer I enjoyed contrasting Max Roach's approach to George Wettling's playing. In Max you can clearly hear strong influences of Kenny Clarke and a lot of Papa Jo Jones. Wettling's playing is practically a clone of Baby Dodds. I could not help thinking that Buddy DeFranco would have been better suited to McPartland's ensemble or dropped altogether from Dizzy's bebop group. Buddy was one of the great clarinetists, but his style was more traditional than bebop.<p>While the first eight tracks contrasted two approaches to the came songs, tracks 9-14 compared the musical skills of male and female ensembles playing the same songs. These tracks are from <a href="http://www.amazon.com/dp/B008VEW3AM?tag=miketarraslifecy" TARGET="_AMZN">Leonard Feather Presents Cats Vs Chicks: A Jazz Battle of the Sexes</a>. The male group was comprised of some of the biggest names both then and now: Clark Terry on trumpet, Urbie Green on trombone, Lucky Thompson on tenor sax, Horace Silver on piano, Tal Farlow on guitar, Oscar Pettiford and Percy Heath swapping off on bass, and Kenny Clarke on drums.<br><center><a href="http://www.amazon.com/dp/B008VEW3AM?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/CatsChicks.jpg"></a></center><p>The women were members of the Terry Pollard Septet, comprised of <a href=http://www.allmusic.com/artist/norma-carson-mn0001286019" TARGET="_ncarson">Norma Carson</a> on trumpet, <a href="http://www.berylbooker.com/biography.html" TARGET="_bbooker">Beryl Booker</a> on piano, <a href="http://www.artsjournal.com/rifftides/2009/12/terry_pollard_1931-2009.html" TARGET="_rtides">Terry Pollard</a> on vibraphone, <a href="http://corkyhale.com/biography.php" TARGET="_corky">Corky Hale</a> (born Merrilyn Hecht) on harp, <a href="http://indianapublicmedia.org/nightlights/mary-osborne-queen-jazz-guitar/" TARGET="_npr">Mary Osborne</a> on guitar, <a href="http://en.wikipedia.org/wiki/Bonnie_Wetzel" TARGET="_bwetz">Bonnie Wetzel</a> on bass and <a href="http://www.organissimo.org/forum/index.php?/topic/2932-whos-elaine-leighton/" TARGET="_elaine">Elaine Leighton</a> on drums.<p>At first glance one would think this was a lopsided comparison that pitted world class male musicians against a group of unknown women. That would be a mistake because Mary Osborne was a renowned, world class guitarist. Terry Pollard was easily the equal of any male pianist or vibraphonist (she was a master of both instruments), who bested the great Terry Gibbs in many vibraphone duels when she was with his band as a pianist. See <a href="http://drumz4sale.blogspot.com/2012/05/some-fun.html" TARGET="_tpollard">this post</a> for Terry in action. Norma Carson was no slouch on trumpet either, giving Terry Clark a run for his money on every track.<p>Hot vs. Cool tracks were interesting. Cats vs. Chicks tracks, though, were white hot and full of energy and amazing musicianship on both sides of the divide. The final track - Anything You Can Do I Can Do Better - is the highlight of this entire album and my personal favorite track. Here is a clip of that track to show why I say this:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/wWuvfNFQz6Y?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/wWuvfNFQz6Y?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object>></center><p>It pits Norma Carson against Clark Terry, Mary Osborne against Tal Farlow, and Terry Pollard against Horace Silver. Personally, I think the women smoked the guys here and I am not saying this to be politically correct. I honestly believe that assertion.<p>Granted, this is a niche compilation that is comprised of albums that were probably intended to be novelties when first released. However, it is also an excellent contrast of two musical styles in the first eight tracks, and a comparison of world class musicians of both genders on the remaining tracks. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0Deltona, FL, USA28.9005446 -81.263673828.7893356 -81.4216023 29.0117536 -81.105745300000009tag:blogger.com,1999:blog-6039237124600133753.post-72543301511488809542012-10-07T10:31:00.000-04:002012-10-07T10:45:14.863-04:00Milt JacksonOn 31 May 2012 I posted a piece titled <a href="http://drumz4sale.blogspot.com/2012/05/some-fun.html" TARGET="_m4d">Some fun</a> that opened with a blurb about Al "Jazzbo" Collins, but was really about vibraphonists. In fact, had vibraphonists been the subject of Mount Rushmore the four I discussed in that post would have been the faces carved in granite. One of those four is Milt Jackson.<p>The main theme of this post is the fact that a comprehensive, ten-disc set of Milt's music has been released: <a href="http://www.amazon.com/dp/B005D4XYZ6?tag=miketarraslifecy" TARGET="_AMZN">Kind of Jackson</a>:<br><center><a href="http://www.amazon.com/dp/B005D4XYZ6?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofjackson.jpg"></a></center><p>If you are strictly a drum kit player instead of a percussionist you are probably wondering what possible benefit studying this album will accrue.<p>For one thing, like the importance of <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_piano">studying piano-centric music</a> (or any music for that matter), you will find rhythmic ideas that you may not discover if you focus only on drums. And, since the vibraphone is a percussion instrument, many drum kit players do have some proficiency with it, and most vibraphonists are accomplished drummers. An example is Lionel Hampton who was considered to be as great on a drum kit as he was on vibraphones.<p>Milt Jackson is mostly associated with the Modern Jazz Quartet, which started out with the great Kenny Clarke on drums (see <a href="http://drumz4sale.blogspot.com/2012/10/b3s-and-other-keys-kenny-clarke-and.html" TARGET="_m4d2">this post</a> for recent information), and culminated with the great Connie Kay taking the drum chair in 1955 and holding it full time until 1974. That alone guarantees that this box set will have examples of some great drumming along with Milt's virtuoso vibes. Not that all of this set is the Modern Jazz Quartet recordings because it isn't. He played with Dizzy Gillespie, Miles Davis, Thelonious Monk and John Coltrane to name but a few.<p>The following clips give a taste of what this box set contains:<p><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/e-x-wuXjkqs?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/e-x-wuXjkqs?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/xMf2I3jzs5U?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xMf2I3jzs5U?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/-mYLvoZyKTI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-mYLvoZyKTI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/MuzEU7h1xmo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MuzEU7h1xmo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="640" height="360"><param name="movie" value="http://www.youtube.com/v/xHX5nGzNFVI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xHX5nGzNFVI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>One parting shot: while Milt clearly demonstrates how a percussion instrument like a vibraphone can provide both melody and rhythm, you as a drummer can as well. See <a href="http://snaredrumz.blogspot.com/2012/06/more-quick-tips-fills-dynamics-and.html" TARGET="_sda">More quick tips: fills, dynamics and melody</a> in my other blog, <a href="http://snaredrumz.blogspot.com/" TARGET="_sda1">Snare Drum Addict</a>, for examples. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-67944806144142795692012-10-06T10:03:00.002-04:002012-10-06T10:18:44.455-04:00Review: The Jazz Standards: A Guide to the RepertoireIn my 05 October 2012 post titled <a href="http://drumz4sale.blogspot.com/2012/10/b3s-and-other-keys-kenny-clarke-and.html" TARGET="_m4d">B3s and other keys, Kenny Clarke and books too</a> I mentioned Ted Gioia's excellent book titled <a href="http://www.amazon.com/dp/0199937397?tag=miketarraslifecy" TARGET="_AMZN">The Jazz Standards: A Guide to the Repertoire</a>. This book has become quickly indispensable and, to be honest, entertaining.<br><center><a href="http://www.amazon.com/dp/0199937397?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jazzstandards.jpg"></a></center><p>Up front, the scope of this book is purposely narrow. <a href="http://www.allaboutjazz.com/php/article.php?id=42356&pg=1" TARGET="_aajazz">Mr. Gioia states</a> that he picked songs that fans are likely to hear in performances (and musicians are likely requested to play). In that respect, if you compare the list of songs to, say, the contents of <a href="http://www.amazon.com/dp/0634060384?tag=miketarraslifecy" TARGET="_AMZN">The Real Book: Sixth Edition</a>, there are major differences. On the other hand, the format Gioia uses would turn an already thick, 554-page book into a multi-volume set rivaling encyclopedias had he attempted to be more inclusive.<p>What I love is the succinct format: discussion of the songs and list of recommended versions. The discussion almost always provides some technical detail, the history of the song, and - in some cases - interesting trivia. The recommended versions cite who, where and when. For example, for Turner's and Layton's 1918 masterpiece, <i>After You've Gone</i>, that is endearingly popular the first recommended version is listed as Marion Harris, Camden, New Jersey, July 22, 1918 (in this example the list contains ten recommendations, the latest of which is a 1995 recording.)<p>I'll explain why this book is indispensable to me. I am an amateur jazz historian who writes this blog as a hobby. A quick look at most of my posts shows that I focus on music and musicians in a much wider scope than just drummers. I also post a lot of <a href="http://www.amazon.com/gp/cdp/member-reviews/A2NYK9KWFMJV4Y/" TARGET="AZN">music reviews on Amazon</a> (among other products).<p>In the past researching was time consuming and discovering facts about not only songs, but recordings and discographies, could take hours. The Recommended Versions part of the format in this book has proven to be an incredible time saver. And the descriptions and anecdotal information this book provides give me insights that I can weave into my own writing.<p>For jazz aficionados this book is practically a concordance with some fascinating information tacked on. The index of this book is particularly helpful because it allows you to cross-reference songs, composers and musicians, and recordings.<p>If you write about jazz as a hobby or professionally this book is essential and I do not use that word lightly. The same goes for the few remaining jazz DJs. Historians and educators will also find this book invaluable. If you are a dyed-in-the-wool aficionado you'll probably get hours of pleasure from randomly picking songs or focusing on some of your favorites, or what is currently playing in the background.<p>The bottom line is if you are serious about jazz, this book should be on your bookshelf. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-17418685431447187082012-10-05T18:30:00.000-04:002012-10-05T18:54:42.841-04:00Why Bix matteredWhy would <a href="http://www.redhotjazz.com/bix.html" TARGET="_bix">Bix Beiderbecke</a>, a cornetist whose recordings spanned 1924 through 1930, matter to anyone but a traditional jazz aficionado today? Certainly as a drummer you will probably not learn much about drumming from his albums. In fact, you would benefit more from listening to Louis Armstrong's groundbreaking <a href="http://www.amazon.com/dp/B00001ZWLP?tag=miketarraslifecy" TARGET="_AMZN">Hot Fives & Sevens</a> from the same era since those albums featured <a href="http://drumz4sale.blogspot.com/2010/02/baby-dodds-root-of-our-drumming.html" TARGET="_bdodds">Baby Dodds</a>, arguably the most influential drummer in history, and <a href="http://drumz4sale.blogspot.com/2010/03/zutty-singleton-big-sid-cattlets-mentor.html" TARGET="_zutty">Zutty Singleton</a> who also inspired generations of drummers. The real reason is how Bix influenced music in a manner that is still felt if you listen closely enough.<p>Critical listening is essential for any musician. You may want to read <a href="http://drumz4sale.blogspot.com/2012/05/understanding-music-through-critical.html" TARGET="_critlis">Understanding music through critical listening</a> before proceeding. Also, while I have included examples of Bix's music in this post, there are some excellent and inexpensive albums that will allow you to dig much deeper if this article piques your interest:<p><a href="http://www.amazon.com/dp/B0028FMAYE?tag=miketarraslifecy" TARGET="_AMZN">The Complete Bix Beiderbecke & Frankie Trumbauer Collection</a> is narrowly focused on Bix's collaborations with Frankie Trumbauer, but to me this is one of the most important periods in his shorts life and career. I've posted a review of this album on <a href="http://www.amazon.com/review/R312F84KECOS0L/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B0028FMAYE&linkCode=&nodeID=&tag=miketarraslifecy" TARGET="_AMZN">this page</a>.<br><center><a href="http://www.amazon.com/dp/B0028FMAYE?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/bixfrank.jpg"></a></center><p>Although not truly complete, <a href="http://www.amazon.com/dp/B006MXVBXE?tag=miketarraslifecy" TARGET="_AMZN">The Complete Bix Beiderbecke: The Complete Collection</a> is still impressively encompassing and contains most of the highlights of Bix's career. See <a href="http://www.amazon.com/review/R2B7LI9W31KQBW/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B006MXVBXE&linkCode=&nodeID=&tag=miketarraslifecy" TARGET="_AMZN">my review</a> for details, pros and cons.<br><center><a href="http://www.amazon.com/dp/B006MXVBXE?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/compbix.jpg"></a></center><p><a href="http://www.amazon.com/dp/B0000DZH5C?tag=miketarraslifecy" TARGET="_AMZN">The Bix Beiderbecke Story </a> is a box set that is worth owning if you are a Bix fan. The track list and session details for every track is <a href="http://www.copaceticcomics.com/cds/74" TARGET="_bbstory">on this page</a>.<br><center><a href="http://www.amazon.com/dp/B0000DZH5C?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/bbstory.jpg"></a></center><p>There is always an unbroken chain that goes back to the beginning. For example, any jazz, R&B or blues saxophonist can trace to Coleman Hawkins as the root of their influence. And while jazz trumpeters and cornetists can trace their root to Buddy Bolden, through Louis Armstrong and beyond, Bix had a parallel influence too.<p>Another reason Bix mattered is his musical associations. He was greatly admired by (and jammed with) Louis Armstrong, and played with Frankie Trumbauer and Eddie Lang - two significant influences on saxophone and guitar.<p>In fact, it's difficult to separate Bix from Frankie in some ways. For one thing, aside from playing together in various orchestras, their best work were collaborations on the following songs: Trumbology, Clarinet Marmalade, I'm Coming Virginia and Way Down Yonder in New Orleans. One collaboration was in composing in which Bix cowrote For No Reason at All in C.<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/Fy5bA6AIG2A?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Fy5bA6AIG2A?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Frankie, a.k.a. Tram, was Lester Young's major influence. So much so that Lester carried a copy of Singin' the Blues in his tenor case everywhere he went. But that song's importance goes far beyond Tram's saxophone genius, it also represents one of Bix's best cornet solos.<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/uo11LQGu3X8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uo11LQGu3X8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The web becomes more tangled when the Hoagy Carmichael connection is acknowledged. Hoagy a\had a close friendship and professional association with Bix. Indeed, he was arranger and pianist on some of Bix's last recordings on May 21, 1930 (these are included in a 10 disc box set, <a href="http://www.amazon.com/dp/B0000DZH5C?tag=miketarraslifecy" TARGET="_AMZN">Bix Beiderbecke Story</a>. It goes even further. Hoagy's masterpiece, <i>Stardust</i>, shares similarities with <i>Singin' the Blues</i>. This is convincingly argued by Richard M. Sudhalter in his highly regarded book, <a href="http://www.amazon.com/dp/0195168984?tag=miketarraslifecy" TARGET="_AMZN">Stardust Melody: The Life and Music of Hoagy Carmichael</a>. He also finds similarities to Stardust in <i>Jazz Me Blues</i>, but the analysis is more technical. Give a listen once more to <i>Singin' the Blues</i> above, then compare it to Hoagy himself playing <i>Stardust</i><br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/Em3xyZz_mow?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Em3xyZz_mow?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Here is the other part - <i>Jazz Me Blues</i> - if you want to listen to both of Sudhalter's proposed influences to compare to <i>Stardust</i>:<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/O7be5YL3tiQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/O7be5YL3tiQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Additional evidence of the mutual high regard between Bix and Hoagy is this composition that Hoagy wrote especially for Bix and Tram. Also note that I am not diminishing Tram's relationship with Hoagy, which was also strong.<br><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/O6NRVclhAxk?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/O6NRVclhAxk?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>As this is unfolding I hope you can see the reach of influence exerted by Bix (and Tram). While Lester Young was influenced by Tram, Chet Baker is probably the most influenced by Bix's cornet.<p>But Bix's reach extended beyond horn players. He ws also a virtuoso pianist as evidenced by this recording:<br><center><object width="640" height="360"><param name="movie" value="http://www.youtube.com/v/J2_Ai8dgBko?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/J2_Ai8dgBko?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Bill Evans was greatly influenced by Bix's piano playing (Bix's own influences were Debussy and Ravel.)<p>If you want to explore the roots of today's music, then Bix mattered. You can certainly hear his (and Tram's and associated guitarist Eddie Lang's) influence on musicians to this day. It's up to the curious among us to connect the dots ... and to acknowledge musicians like Bix who truly added to the body of American music.<p>I am ending with a final clip, but I am not going to embed it here because the story on the video page is worth reading. This will probably interest Bix fans and bore general listeners: <a href="http://www.youtube.com/watch?v=WQnW8C8HeQs&feature=related" TARGET="_ytb">The unheard and unseen Bix Beiderbecke</a>. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0Deltona, FL, USA28.9005446 -81.263673828.7893356 -81.4216023 29.0117536 -81.105745300000009tag:blogger.com,1999:blog-6039237124600133753.post-42185911900959196782012-10-05T12:13:00.000-04:002012-10-05T12:27:18.773-04:00B3s and other keys, Kenny Clarke and books tooAn entire crop of new box sets worth studying, plus a great reference book have occupied my attention recently. First up are two box sets of the great Hammond B3 artist, Jimmy Smith.<p>The ten CDs that make up <a href="http://www.amazon.com/dp/B003GE69LG?tag=miketarraslifecy" TARGET="_AMZN">Kind of Smith</a> is an eclectic collection of his work spanning most of his career:<br><center><a href="http://www.amazon.com/dp/B003GE69LG?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kosmith.jpg"></a></center><p>Another 10 disc set that you may want to consider as an alternative is <a href="http://www.amazon.com/dp/B008Q8M40W?tag=miketarraslifecy" TARGET="_AMZN">18 Classic Albums</a>, which shares a lot of tracks with the first one.<br><center><a href="http://www.amazon.com/dp/B008Q8M40W?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jsmith18.jpg"></a></center><p>If you have never heard of Jimmy Smith (rare, but possible), or are not very familiar with his body or work and how it would relate to drummers, here are a few clips that showcase his style and, more importantly, the grooves that go along with it.<p><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/MDCUj7h_Fuo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MDCUj7h_Fuo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/gobKu4UlxSA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gobKu4UlxSA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The next two box sets go hand-in-hand because not only were Bud Powell and Kenny Clarke key to the formation of bebop (indeed, Clarke - Klook - invented the drumming style), but both here closely associated with each other as expats in Europe.<p>A few notes: Bud Powell is one of three pianists whom I call my <i>holy trinity</i> - the other two are Teddy Wilson and Thelonious Monk. The importance of piano to drummers is close to the same level as bass in many types of music. See <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_m4d">Piano: the other percussion instrument</a> for why.<p>The importance of Klook to jazz drumming - not just bebop - cannot be over emphasized. His contributions, especially how he moved time to the ride cymbal and used the call and response patterns between the snare drum and bass drum to interact with the other musicians changed jazz drumming in a major way.<p>Here are the two box sets, combined, that I recommend: <a href="http://www.amazon.com/dp/B005D4XYUQ?tag=miketarraslifecy" TARGET="_AMZN">Kind of Clarke</a><br><center><a href="http://www.amazon.com/dp/B005D4XYUQ?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofclarke.jpg"></a></center><p>And the companion set, <a href="http://www.amazon.com/dp/B004AJARIM?tag=miketarraslifecy" TARGET="_AMZN">Kind of Powell</a><br><center><a href="http://www.amazon.com/dp/B004AJARIM?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofpowell.jpg"></a></center><p>Here is a clip of Klook and Bud in action:<p><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/nAPiy-u7JYQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nAPiy-u7JYQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Another important pianist is Horace Silver who was one of the founding members of the <a href="http://drumz4sale.blogspot.com/2012/05/addendum-to-jazz-messenger-albums.html" TARGET="_m4d2">Jazz Messengers</a>, and was also the pianist on the classic (and essential) pre-Jazz Messenger albums recorded live at Birdland with Clifford Brown, Art Blakey, Curly Russel and Lou Donaldson: <a href="http://www.amazon.com/dp/B00005MIZ8?tag=miketarraslifecy" TARGET="_AMZN">A Night at Birdland, Vol. 1</a>, and the second set <a href="http://www.amazon.com/dp/B00005MIZ9?tag=miketarraslifecy" TARGET="_AMZN">A Night at Birdland, Vol. 2</a>.<p>The above background should inspire any drummer to acquire and study <a href="http://www.amazon.com/dp/B004BJZLGO?tag=miketarraslifecy" TARGET="_AMZN">Kind of Silver</a>, which contains ten CDs of some of the best hard bop piano in jazz:<br><center><a href="http://www.amazon.com/dp/B004BJZLGO?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofsilver.jpg"></a></center><p>Here are a few clips to show Horace's style:<p><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/S1CilMzT55M?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/S1CilMzT55M?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/t8jFGFwOm7k?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/t8jFGFwOm7k?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The next box set is a perfect segue from Horace Silver because of the importance of A Night in Birdland albums mentioned above: <a href="http://www.amazon.com/dp/B005D4XZ3C?tag=miketarraslifecy" TARGET="_AMZN">Kind of Brown</a>. However, for drummers one of the main reasons to study Clifford's work is the long term collaboration with Max Roach. This is relatively speaking since Clifford's life was tragically cut short at 25 (along with Bud Powell's brother, Richie, who was in the same auto accident.)<br><center><a href="http://www.amazon.com/dp/B005D4XZ3C?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/kindofbrown.jpg"></a></center><p>Here are some representative clips that will give you a glimpse into what is in this set:<p><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/mkFjsy0MMB4?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/mkFjsy0MMB4?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/-Y6U0TD3z34?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-Y6U0TD3z34?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/8H1eY2oZJWw?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8H1eY2oZJWw?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>My last item is probably the ideal research tool for the topics about which I write: <a href="http://www.amazon.com/dp/0199937397?tag=miketarraslifecy" TARGET="_AMZN">The Jazz Standards: A Guide to the Repertoire</a>. My copy is enroute, but the reviews on the <a href="http://www.amazon.com/dp/0199937397?tag=miketarraslifecy" TARGET="_AMZN">product page</a> sold me. I am a jazz junkie and also an amateur historian who has a love of the Great American Songbook and am always on the <a href="http://jazzstandards.com/" TARGET="_jstand">Jazz Standards web site</a> anyway. That makes this one of the most sensible purchases I've made in recent memory.<br><center><a href="http://www.amazon.com/dp/0199937397?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jazzstandards.jpg"></a></center><p>I hope this post was helpful. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-27929999884508799152012-10-02T14:55:00.000-04:002012-10-03T14:42:05.449-04:00A great year for historyGood news for drummers who are also historians: Daniel Glass has completed <a href="http://www.amazon.com/dp/B009GESJ4A?tag=miketarraslifecy" TARGET="_AMZN">The Century Project</a> and it's available for sale (click the link.) Here is a short summary of what the project is based on an early pitch for the video:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/tdJdC5btNd0?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/tdJdC5btNd0?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Also released and currently being previewed in major cities is Jeff Kauffman's wonderful bio of Chick Webb. I posted <a href="http://drumz4sale.blogspot.com/2010/08/savoy-king-movie-about-chick-webb-and.html" TARGET="_cwebb">this piece</a> about the movie two years ago. I finally had the privilege and pleasure of watching it last week and it is everything Jeff promised - <i>and more</i>! More information is at <a href="http://savoyking.com/" TARGET="_sking">the film's web site</a>. Here is the trailer:<br><center><iframe width="560" height="315" src="http://www.youtube.com/embed/jtkmUtiElBA?list=PLEF8748D972A05489&amp;hl=en_US" frameborder="0" allowfullscreen></iframe></center><p>If history is an interest I recommend some of my previous posts, including <a href="http://drumz4sale.blogspot.com/2012/08/digging-into-our-history.html" TARGET="_hist1">Digging into our history</a>, as well as <a href="drumz4sale.blogspot.com/2010/03/oral-histories-louis-bellson-chico.html" TARGET="_hist2">Oral Histories: Louis Bellson, Chico Hamilton & Roy Haynes</a> and a collection of video recommendations in <a href="http://drumz4sale.blogspot.com/2010/02/going-back-in-time-videos-of-greats.html" TARGET="_hist3">this post</a>. Of course, searching for some of the greats and pioneers by name here will yield some solid results too.<p> Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-49583379636625960002012-10-02T00:45:00.000-04:002012-10-02T00:45:13.132-04:00A nostalgia trip to 1957This is the 8 December 1957 CBS special broadcast, <a href="http://en.wikipedia.org/wiki/The_Sound_of_Jazz" TARGET="_wiki">Sound of Jazz</a>. See the link for details. Also, there is additional footage that includes the <i>Sound of Miles Davis</i>, plus performances by Ahmad Jamal and Ben Webster.<p><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/TGurt6mU-ek?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/TGurt6mU-ek?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center>Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-62455024322746323802012-10-01T06:40:00.001-04:002012-10-01T06:40:20.895-04:00Recommended Papa Jo Jones albums Part 2Following up from <a href="http://drumz4sale.blogspot.com/2012/09/recommended-papa-jo-jones-albums-part-1.html" TARGET="_m4d">Recommended Papa Jo Jones albums Part 1</a>, this post will list the remaining albums on which Papa Jo was either leader or co-leader.<p>The first album to recommend is <a href="http://www.amazon.com/dp/B000000Z1Q?tag=miketarraslifecy" TARGET="_AMZN">Jo Jones The Main Man</a>.<br><center><a href="http://www.amazon.com/dp/B000000Z1Q?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/mainmanpjj.jpg"></a></center><p> this is not only an excellent album for drummers to study, but historical in its own right. The historical aspect is this album reunites four key alumni of the 1937 Basie line-up, considered by many to be the greatest incarnation of that band: Papa Jo Jones on drums, Freddie Green on guitar, Vic Dickenson on trombone, and Harry Sweets Edison on trumpet.<p>Other members of this session, which took place on 29 and 30 November 1976 in RCA's New York Studios are Roy Eldridge also on trumpet, Eddie Lockjaw Davis on tenor sax, Tommy Flanagan on piano and Sam Jones on bass. The line-up is truly all-star.<p>As for the value to drummers, and to be inclusive, the other musicians: the pulse set up by the rhythm section is driving. For me, though, it's the use of dynamics by each member of the entire ensemble that is instructive and a pleasure to hear.<p>Unfortunately, I do not have any clips available to share, but at such time that I make then I will update this section of this post.<p>Track one sets the pace with Tommy Flanagan's beautiful piano support and Papa Jo's brushwork on the first track are exquisite. The muted trumpets and how Sam Jones locks in on bass all combine to give Papa Jo a platform to exhibit his tasteful playing.<p>If you are a drummer and play with brushes the next track, I Want to Be Happy, merits careful and repeated listening. The next track, Ad Lib, also contains solid brushwork, but is more subtle.<p>One of my favorite tracks is Dark Eyes because the way Papa Jo handles it is vastly different from Gene Krupa's approach(and this was one of Krupa's signature songs.) While the song lacks that Eastern European flavor of Krupa's renditions, the trumpets lift it up and Papa Jo's drumming is one of the reasons I love this particular track. Indeed, the entire ensemble is on fire here.<p>Papa Jo cuts loose on the final two tracks, Metrical Portions and Ol' Man River, taking the band on a ride with him. As hard driving as he is on these tracks he also manages to remain tasteful. Louis Bellson once claimed that Papa Jo's style was akin to a fan dancer, and these tracks amply underscore that. As driving as he is, he remains airy and artful.<p>I consider <a href="http://www.amazon.com/dp/B001CJV2AK?tag=miketarraslifecy" TARGET="_AMZN">Smiles (1969-1975) (The Definitive Black & Blue Sessions)</a> to be important for a few reasons, foremost of which is it is a record of Papa Jo's later years.<br><center><a href="http://www.amazon.com/dp/B001CJV2AK?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/pjjsmiles.jpg"></a></center><p>Papa Jo performed regularly in Europe and especially in France during the late 1960s through a large part of the 1970s. This album captures some of those performances as recorded by Disques Black & Blue (hence, <i>The Definitive Black & Blue Sessions</i>.) Instead of providing specific clips from the album, which are difficult to track down, I am going to provide what I consider to be the cream of the crop from Papa Jo's Paris performances during this era with the same musicians that are in the album. I'll kick off with this one:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/MjCg7o1quAQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MjCg7o1quAQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The first ten tracks were released as Jo Jones - Caravan in 1974 by Disques Black & Blue, and dominate the album. Those tracks were recorded on 28 February 1974 at Barclay Studios in Paris, except Slide Jimmy Slide, which was recorded on 26 February in the studio, and Caravan was recorded live in Paris on January 13th 1974.<p>Personnel on the first ten tracks are: Papa Jo Jones on drums, Major Holley on bass (except for Caravan), Gerry Wiggins on piano on all tracks except for Slide Jimmy Slide, which has Milt Buckner on piano, and Caravan, which has Milt Buckner on organ. Illinois Jacquet is on tenor saxophone on Caravan.<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/eANTTBvIXmI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/eANTTBvIXmI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/kcxMqP-xZDo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/kcxMqP-xZDo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The remaining four tracks, taken from other Paris performances between 1969 and 1975, have basically Papa Jo Jones on drums and Milt Buckner on organ.<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/c7g-_KLjqCQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/c7g-_KLjqCQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>To my ears the music is excellent and Papa Jo's drumming in superb form making this album is one to study (along with Papa Jo's other work).<p>My 30 August 2012 post titled <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d2">The Importance of Bass</a> briefly mentioned this great album featuring Papa Jo and Milt Hinton: <a href="http://www.amazon.com/dp/B0035RMMZ6?tag=miketarraslifecy" TARGET="_AMZN">Percussion And Bass</a>.<br><center><a href="http://www.amazon.com/dp/B0035RMMZ6?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/percbass.jpg"></a></center><p>This was one the the three albums Papa Jo recorded for Everest (this one in New York City in 1960). And there is a mystery associated with it. Nowhere in Nat Hentoff's original liner notes is there any credit for the vibes played on Love Nest and Tin Top Alley Blues. The album does claim percussion instead of drums, so I am guessing that Papa Jo played them. The larger mystery is on Little Honey, which features vibes and brushes. Here is a clip:<br><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/e6f97rikin8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/e6f97rikin8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>What I love about this album and why I believe it's a wonderful tool for studying is how the tracks represent a wide range of tempos. Moreover, the super fast tempo on H.O.T. and how it was maintained primarily with the hi-hat was instructive. And the amazing brushwork on Walls Fall was another highlight.<p>Last, but certainly not least is <a href="http://www.amazon.com/dp/B004K2ZV8K?tag=miketarraslifecy" TARGET="_AMZN">Jazz Magic '56</a>. Teddy and Papa Jo (and Billie Holiday, Basie and Lester Young) formed an eternal braid of sorts and always wound up recording together during their respective careers. I could cite a long list of albums, but the scope of this post is confined to albums on which Papa Jo was leader or co-leader.<br><center><a href="http://www.amazon.com/dp/B004K2ZV8K?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jm56.jpg"></a></center><p>This is actually the Teddy Wilson/Papa Jo Jones compilation titled <a href="http://www.amazon.com/dp/B000OLHFCG?tag=miketarraslifecy" TARGET="_AMZN">Complete Recordings</a> without the final eight bonus tracks featuring Benny Carter on alto saxophone.<p>Note that not all of these tracks are strictly from 1956 - some are from 1955 (although they may have been first released in 1956.)<p>Here are the albums from this this one is derived: <a href="http://www.amazon.com/dp/B000WKYEPK?tag=miketarraslifecy" TARGET="_AMZN">For Quiet Lovers</a> recorded in January 1955 with Teddy on piano, Papa Jo on drums and Milt Hinton on bass. Here is the first track from that album (interesting song title considering the album title!) Note Papa Jo's brushwork:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/yfhxxV3yvgQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/yfhxxV3yvgQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B000009B3V?tag=miketarraslifecy" TARGET="_AMZN">I Got Rhythm</a> circa March 1956 with Gene Ramey on bass. Here is a clip of Teddy playing the great Chick Webb's theme song (composed by Edgar Sampson.)Listen to Papa Jo's drumming. Subtle and forceful at the same time:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/XLBsJSY0NE8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/XLBsJSY0NE8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>A pair of 1956 albums featuring Al Lucas on bass: <a href="http://www.amazon.com/dp/B004ABZS9I?tag=miketarraslifecy" TARGET="_AMZN">The Impeccable Mr. Wilson</a> and the out-of-print <a href="http://www.amazon.com/dp/B001ACRUUU?tag=miketarraslifecy" TARGET="_AMZN">Teddy Wilson Trio - these tunes remind me of you</a>. Here are two clips:<br><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/LZMCzmJDmRM?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LZMCzmJDmRM?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/kAwH8vAlpQo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/kAwH8vAlpQo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>While there are other compilations of Teddy, this particular album has Teddy paired with Papa Jo Jones. They both have a mutual history that goes back to Billie Holiday's first recordings in the mid-1930s on which Teddy was the band leader.<p>As a music lover, and especially one who places Teddy on a pedestal, getting lost in the silvery tone of his piano on these tracks is a rare treat in life. The taste with which both complement each others playing is - in my opinion - incomparable.<p>My next topic will be Charles Mingus. I will warn in advance: I'm fanatical. On the plus side, there will be many small posts over a period of time instead of a tsunami of information and clips. Until then ... Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-80310575480468712492012-09-30T14:05:00.004-04:002012-09-30T14:05:46.851-04:00Recommended Papa Jo Jones albums Part 1One of these days I am going to create a special page just to list all of my Papa Jo Jones-related posts. In the meantime I am going to use this topic - in two parts - to list some of the albums I recommend for those interested in digging deep into Papa Jo's style.<p>I'll get some ancillary recommendations out of the way first. See my 9 August 2012 post titled <a href="http://drumz4sale.blogspot.com/2012/08/my-personal-mount-rushmore.html" TARGET="_m4d1">My Personal Rushmore</a> for a listing of box value-priced box sets in which Papa Jo Jones occupies a substantial number of tracks. The box sets are compilations of these artists: Billie Holiday, Teddy Wilson, Lester Young and Count Basie. Indeed, those artists form a mesh where Papa Jo is the is the common thread.<p>Two other posts that should interest any Papa Jo fan are my 20 July 2012 post, <a href="http://drumz4sale.blogspot.com/2012/07/rifftide-life-and-opinions-of-papa-jo.html" TARGET="_m4d2">Rifftide: The Life and Opinions of Papa Jo Jones - A Review</a> and a related piece posted on 28 July 2012 titled <a href="http://drumz4sale.blogspot.com/2012/07/papa-jo-jones-revisited.html" TARGET="_m4d">Papa Jo Jones revisited</a>. Both of those posts contain links to even more content, so if you have the time to peruse this material you will come away with a lot of background information that includes audio and video clips.<p>The first album in my list of recommendations is <a href="http://www.amazon.com/dp/B0037T351M?tag=miketarraslifecy" TARGET="_AMZN">The Everest Years</a><br><center><a href="http://www.amazon.com/dp/B0037T351M?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/everestyears.jpg"></a></center><p>This is actually two albums combined into a value-priced compilation:<p>Album #1 is <a href="http://www.amazon.com/dp/B002U1FIAY?tag=miketarraslifecy" TARGET="_AMZN">Jo Jones Trio</a>. This circa 1959 album features a tight trio comprised of Papa Jo Jones, backed by brothers Ray Bryant on piano and Tommy Bryant on bass.<p>The first 12 tracks that are from this album are particularly excellent for studying Papa Jo's brush technique. One reason is there are no horns or large ensembles to mask every legato note he plays. What I especially love about this for study purposes is how he treats 'I Got Rhythm' in tracks 8 (Part I) and 9 (Part 2). The first is a relatively slow tempo, with the second at a much faster tempo. The contrast in brush techniques for each tempo is an invaluable lesson in itself.<p>Here are two of the tracks from the album to give you an idea of the music:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/MRUp-c2zDTs?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MRUp-c2zDTs?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/0UyjgBftcGs?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/0UyjgBftcGs?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/gp/product/B000M07YO8?tag=miketarraslifecy" TARGET="_AMZN">Vamp Till Ready</a> is the second album from the Everest years that comprises this album. This was recorded circa 1960 (some sources cite 1959 with a 1960 release), and it consists of the final 12 tracks featuring Harry Sweets Edison on trumpet, Jimmy Forrest on tenor saxophone, Bennie Green on trombone, Tommy Flanagan on piano and Tommy Potter on bass. These tracks are also excellent study material because they capture Papa Jo's deft touch and beautiful dynamics in a larger ensemble setting.<p>Of course, you do not have to be a drummer to appreciate this album because the music stands on its own merits. And a piece of trivia: Jimmy Forrest, tenor saxophonist on the last 12 tracks, is the composer of Night Train an iconic R&B hit made famous by James Brown.<p>\Next up is <a href="http://www.amazon.com/dp/B003EU7B0K?tag=miketarraslifecy" TARGET="_AMZN">Our Man, Papa Jo! +4</a><br><center><a href="http://www.amazon.com/dp/B003EU7B0K?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/ourmanpapajo+4.jpg"></a></center><p>This album showcases Papa Jo's like few others because every note and nuance of his playing can be heard.<p>The album itself was recorded at Sound Ideas Studios in New York City on 12 December 1977. The Japanese label, Denon, issued it as an import circa 1982 and it has been in and out of print in the US since then.<p>My interest in Papa Jo's recordings are mainly to study his brushwork. However, he plays with sticks on many of the tracks in this one. His deft touch and practically patented hi-hat patterns lift the ensemble the same way as in his Basie days when he and the rest of the All American Rhythm Section invented that technique. As a drummer this is a treasure. As a lover of solid jazz this is a great listen that extends to bring pleasure to musicians and casual listeners alike.<p>The ensemble backing Papa Jo includes Hank Jonesn on piano, Major Holley on bass and Jimmy Oliver on tenor. Holley seems to have escaped the wider fame he richly deserves as a bassist. He had played with just about every top jazz musician in his career and was highly regarded, but managed to fall into obscurity. Sound samples for this album are <a href="http://www.amazon.com/dp/B003EU7B0K?tag=miketarraslifecy" TARGET="_AMZN">on this page</a><p>The aptly titled <a href="http://www.amazon.com/dp/B001EV4BKE?tag=miketarraslifecy" TARGET="_AMZN">The Essential Jo Jones</a> is just that: <i>essential</i>:<br><center><a href="http://www.amazon.com/dp/B001EV4BKE?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/essentialjojones.jpg"></a></center><p>This is a compilation of the only two albums Papa Jo led for Vanguard. The first is <a href="http://www.amazon.com/dp/B001C3EI8O?tag=miketarraslifecy" TARGET="_AMZN">Jo Jones Special</a> (Vanguard VRS 8503) recorded August 11 and 16, 1955, and he second is the long out of print Jo Jones Plus Two (Vanguard VRS 8525) recorded April 30, 1958.<p>The first six tracks are from Jo Jones Special and the first of those tracks is one of the two very special ones on this album. That first track, Shoe Shine Boy reunites the All American Rhythm Section - Basie on piano, Freddie Green on guitar, Walter Page on bass and Papa Jo on drums - for their last performance together. Unfortunately I have no clip of that rendition, but have a different performance of the same song that displays Papa Jo's approach to playing it:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/si8lHNJ3JVQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/si8lHNJ3JVQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Other musicians on those first six tracks are Nat Pierce on piano for the remaining tracks 2-6, Emmett Berry on trumpet, Lucky Thompson on tenor saxophone and Benny Green on trombone (except on track 4, Caravan where Lawrence Brown takes over.)<p>The remaining part of this album is Jo Jones Plus Two with pianist Ray Bryant and his bassist brother Tommy backing Papa Jo. The brothers would move to Everest with Papa Jo in 1959 and record <a href="http://www.amazon.com/dp/B002U1FIAY?tag=miketarraslifecy" TARGET="_AMZN">Jo Jones Trio</a>. However, this album, while uniformly excellent on every track, is significant because of Little Susie (track 8). Papa Jo's playing on this song was cited by Eric Novod in <a href="http://www.jazz.com/dozens/the-dozens-twelve-great-moments-in-modern-jazz-drumming" TARGET="_dzns">Dozens: Twelve Greatest Moments in Jazz Drumming</a> at the top of the list. I have to agree. Do note that the version of Little Susie on this album (singled out by Eric Novod) is 5:22 minutes versus the 3:38 version from <a href="http://www.amazon.com/dp/B002U1FIAY?tag=miketarraslifecy" TARGET="_AMZN">Jo Jones Trio</a>.<p>One last clip from this album shows just what a great brush player Papa Jo was:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/PDttjHirEIc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/PDttjHirEIc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Suffice to say, this is an essential [no pun intended] album to study. Every track contains superb examples of Papa Jo's drumming style, and as an added bonus the musicianship of the ensembles is in consistently top form.<p>In my next post, Part 2, I will pick up where I left off and cover the remaining, significant albums on which Papa Jo was the leader or co-leader. Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-11275039342975978592012-09-15T01:11:00.001-04:002012-09-16T11:04:05.851-04:00Anita O'Day in depth Part 5Picking up from where I left off in <a href="http://drumz4sale.blogspot.com/2012/08/anita-oday-in-depth-part-3.html" TARGET="_m4d4">Anita O'Day in depth Part 4</a>, this post will cover some of Anita's albums that are off the beaten path. First up is this gem: <a href="http://www.amazon.com/gp/product/B007HICJOI?tag=miketarraslifecy" TARGET="_AMZN">Bigbands Live: Benny Goodman Orchestra featuring Anita O'Day</a><br /><center><a href="http://www.amazon.com/dp/B007HICJOI?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/bgaod.jpg"></a></center><p>I accidentally came across this gem while looking for something completely different. A quick listen to the sound samples on this page convinced me. What a delightful surprise and some amazing music.<p>There are short sound samples on <a href="http://www.amazon.com/gp/product/B007HICJOI?tag=miketarraslifecy" TARGET="_AMZN">this page</a>, so you can let your own ears determine if this is for you. What those samples will not tell you is which of the tracks contains Anita because she does not come in until after the intros in the samples. She is on these tracks:<ul><li>Honeysuckle Rose</li><li>Come Rain or Come Shine</li><li>Let Me Off Uptown</li><li>Gotta Be This Or That</li><li>Girl Crazy, Act II: But Not for Me/Four Brothers/Blues</li></ul>Here is a clip from the album that gives a taste of what to expect:<br /><center><iframe width="560" height="315" src="http://www.youtube.com/embed/-fePtvWVR48" frameborder="0" allowfullscreen></iframe></center><p>It's uncertain whether Anita was supposed to be on <i>Gotta Be This Or That</i>. It starts off with Benny singing, then forgetting the lyrics and trying to scat is way through the rest. That alone is priceless, but when Anita joins in and 'rescues' him the song takes on a life of its own.<p><i>Let Me Off Uptown</i> lacked the fire of Anita's performances with Roy Eldridge, but was still a great addition to the album.<p>The rest of the ensemble was comprised of Russ Freeman on piano, Red Norvo on vibes, Jack Sheldon on trumpet, Flip Phillips on tenor sax, Bill Harris on trombone, Jerry Dodgion on flute, Jimmy Wyble on guitar, Red Wootton on bass and John Markham on drums.<p>Norvo's quiet, vibrato-less style of playing is a marked contrast to Lionel Hampton's aggressive, full vibrato playing which is usually associated with Benny's clarinet. However, it perfectly fit the ensemble. I was also impressed by John Markham's drumming, which reminded me a lot of Anita's own drummer, John Poole (who was on the tour as Anita's manager.)<p>For those who track dates, places and other details of jazz performances, this was about mid way through Goodman's 1959 European tour, which kicked off in Munich on 3 October 59. This album is the Stadthalle-Freiburg performance of 15 October, a week before the tour ended.<p>Here is the same ensemble three months later back in the US. In this clip Gene Dinovi replaces Russ Freeman on piano, however the same energy is exhibited and this is another indication of the quality of music on the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/8BpW-iuoHbQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8BpW-iuoHbQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Anita discussed this tour and problems she and Benny had in Chapter XI, pages 244-246 of <a href="http://drumz4sale.blogspot.com/2012/07/anita-oday-in-depth-part-1.html" TARGET="_htht">High Times Hard Times</a>. Benny never liked being upstaged and therein was the cause of the clash. That, plus Benny was straight-laced and Anita was truly the <a href="http://drumz4sale.blogspot.com/2010/04/anita-oday-jezebel-of-jazz-drummers.html" TARGET="_m4d">Jezebel of jazz</a> and a strong personality in her own right. When Benny informed her to not show up for one of the performances on the tour she threatened to quit, so he pared down her performances to just two songs per appearance. Given the fact that this album contains five songs, it must have been recorded before the clash.<p>There are two other albums from this tour: <a href="http://www.amazon.com/gp/product/B00000JMBC?tag=miketarraslifecy" TARGET="_AMZN">In Stockholm 1959</a>, from 18 October 59 with a smoking performance of Four Brothers with Stan Getz who sat in, and <a href="http://www.amazon.com/gp/product/B0000001NW?tag=miketarraslifecy" TARGET="_AMZN">An Airmail Special From Berlin 1959</a> from 22 October. Both are worth checking out if you enjoy this one.<p>The next album that I consider a hidden gem is <a href="http://www.amazon.com/gp/product/B000V697T8?tag=miketarraslifecy" TARGET="_AMZN">Anita O'Day And The Three Sounds</a><br /><center><a href="http://www.amazon.com/dp/B000V697T8?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/anita3sounds.jpg"></a></center><p>When this album was cut in 1963 with The Three Sounds (a popular trio from that era), it was not widely accepted by fans. I'll be honest - I was also lukewarm the first few times I listened to this album. It seemed to lack that ineffable quality and verve (no pun intended) that Anita brought to her performances, both live and in the studio.<p>My first thought was to make a wine analogy where some of my favorite O'Day albums were like a complex Valpolicella whereas this one was line the second glass of a table wine. In the first you could savor the nuances; in the second the complexity and nuances were not really there, but you still felt good. After many hours of enjoying this album, though, I realize my wine analogy was not only glib and snobbish, but off the mark. The Three Sounds did a remarkable job in supporting Anita's vocals in my opinion. Some may call it bland or even elevator music. I call it masterful because there is a nice swing and sensitive playing by the entire ensemble.<p>Gene Harris' piano reminds me a lot of <a href="http://drumz4sale.blogspot.com/2012/06/ahmad-jamal-8-classic-albums-part-1.html" TARGET="_m4d">Ahmad Jamal</a>. There is a lot of space, and to extend the comparison further, Andrew Simpkins' bass fills in nicely the way Israel Crosby complemented Jamal in their trio playing. The wild card in the ensemble, in my opinion, is Bill Dowdy on drums. Bear in mind that not only am I a drummer who is going to naturally pay close attention to that instrument in recordings, but I am heavily influenced by John Poole, who was Anita's drummer for nearly four decades. Dowdy's playing is vastly different from Poole's, but is also very tasteful and fit the music on each track perfectly (to my ears anyway.)<p>The real treat and - for me - a highlight is Whisper Not, which features Roy Eldridge playing a muted trumpet solo. When I first heard the solo it immediately stood out because the album is mainly centered around Anita backed by a piano trio. When I looked up who played it took my breath away because it transported me mentally back to her Krupa days when she and Eldridge would do duets.<p>Another favorite is this track from the album because it showcases Anita's voice and the Three Sounds:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/Ea8eu-T7_C0?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Ea8eu-T7_C0?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>There is a subdued quality to Anita's vocals on this album too. In some ways she seems to be missing that joie de vivre - joy of life - quality. In other ways, she seems centered and at the beginning of a long, gradual transformation.<p>Perhaps I have rambled on long enough. The best way to determine if this album is for you is to listen to the sound samples <a href="http://www.amazon.com/gp/product/B000V697T8?tag=miketarraslifecy" TARGET="_AMZN">on this page</a>. They will give a tantalizing taste, but I found the real beauty of each track to be many bars into each song.<p>This album is the one in which I discovered the Three Sounds and because a solid fan. If you like the way they back Anita, I recommend checking out <a href="http://www.amazon.com/gp/product/B005SQ3B2K?tag=miketarraslifecy" TARGET="_AMZN">The three Sounds Eight Classic Albums</a>.<p>The final gem I'll discuss in this post is a collaboration between Anita and Cal Tjader titled, <a href="http://www.amazon.com/gp/product/B000VRH2IU?tag=miketarraslifecy" TARGET="_AMZN">Time For Two</a><br /><center><a href="http://www.amazon.com/dp/B000VRH2IU?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/aoct.jpg"></a></center><p>Cream rises to the top and this album is the cream from Anita's Verve years in my opinion. While the bulk of her recordings from those years were in orchestral settings, this and a handful of others capture Anita in her best setting - a small ensemble.<p>In addition to the setting, another factor that makes this album the cream of the crop and a showcase is Cal Tjader's leadership of the backing ensemble. The musicians were Cal Tjader and Johnny Rae handling vibes and percussion, Bob Corwin and Lonnie Hewitt switching off on piano and Freddy Schrieber on bass.<p>Part of the reason for the success of this album is the shared traits between him and Anita. He was not only an acclaimed vibraphonist, but also an accomplished drummer and percussionist. Anita had a lifelong affinity for drummers, starting with the lessons she received from her first husband, Don Carter, as well as her lifelong collaboration and friendship with John Poole who was her drummer for well over three decades.<p>In addition to that point of musical intersection, Tjader brought to this album a strong sense of Afro-Cuban rhythms, as well as the ability to play laid back, straight-ahead jazz. The former played directly into Anita's percussive singing style, while the latter was a major comfort zone for Anita. I won't attempt to describe the music since there are sound samples on this page, but I will cite two examples of music that showcase both the Latin and the straight-ahead pieces on this album: An Occasional Man for the former and I'm Not Supposed to Be Blue Blues for the latter. The chasm between those two styles is why I claimed that the album showcases Anita's versatility. Here is a clip that gives a flavor of the infectious Latin side of the album:<br /><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/0It1VC02Zkg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/0It1VC02Zkg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>A few notes about the backing ensemble: Tjader's vibe style is - to my ears - very similar to Red Norvo. It's light, airy and virtually no vibrato. That style spills over to the rest of the ensemble. The music itself comes across as simple. However, if you consider just how few musicians are present their ability to make the backing ensemble sound much larger is a feat in itself. Not only that, but they perfectly support Anita, providing her with a rhythmic platform that leaves the melody to her and Tjader's vibraphone.<p>One final clip from the album to savor:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/lA6XRttQujk?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lA6XRttQujk?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Of all of Anita's Verve albums, the two that I think rise to the top for small group excellence is this one and <a href="http://www.amazon.com/gp/product/B000V697T8?tag=miketarraslifecy" TARGET="_AMZN">Anita O'Day And The Three Sounds</a> discussed above. For pure magic, though, this one is my favorite. <br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-3748992046442807292012-09-11T09:52:00.003-04:002012-09-11T10:09:09.411-04:00Sonny Rollins: Living National Treasure part 2In keeping with my theme of <i>music for drummers</i>, this post will follow up <a href="http://drumz4sale.blogspot.com/2012/09/sonny-rollins-living-national-treasure.html" TARGET="_m3d">Sonny Rollins: Living National Treasure</a> by providing three more listening recommendations.<p>First up is <a href="http://www.amazon.com/gp/product/B001663SF6?tag=miketarraslifecy" TARGET="_AMZN">Plays For Bird</a>, one of Sonny's lesser known 1956 masterpieces that he recorded on 5 October 1956, four months after <a href="http://www.amazon.com/gp/product/B004ADV552?tag=miketarraslifecy" TARGET="_AMZN">Saxophone Colossus</a>.<br /><center><a href="http://www.amazon.com/dp/B001663SF6?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/playsforbird.jpg"></a></center><p>Personnel on this album are Sonny on tenor, Kenny Dorham on trumpet, Wade Legge on piano, George Morrow on bass and Max Roach on drums. The album was a tribute to Charlie Parker and featured songs with which he was strongly associated. Each track is a study in dynamics, rhythm, melody and harmony, and - as always - Max Roach's drumming approach is masterful. The longest track, a medley clocking in a few seconds short of 27 minutes, covers a wide range of songs: I Remember You/My Melancholy Baby/Old Folks/They Can't Take That Away From Me/Just Friends/My Little Suede Shoes/Star Eyes. The way the musicians seamlessly segue from one to the next is why I included this track and also why I recommend this album:<br /><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/j1t4ku0PinQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/j1t4ku0PinQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Next is one of Sonny's first recordings as a leader. It was recorded in 1953, but not released until 1956: <a href="http://www.amazon.com/gp/product/B0036KZOMK?tag=miketarraslifecy" TARGET="_AMZN">Sonny Rollins with The Modern Jazz Quartet</a><br /><center><a href="http://www.amazon.com/dp/B0036KZOMK?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/srmjq1.jpg"></a></center><p>The album cover may seem confusing with a much older Rollins depicted, so I am including the original cover for reference:<p><center><img src="http://www.volusiagig.com/music/srmjq2.jpg"></center><p>What makes this album special is the personnel changes on the various tracks. And as a drummer,being able to compare and contrast the playing of Kenny Clarke, Art Blakey and Roy Haynes on a single album is a treat. The first four tracks is Sonny accompanied by the first edition of the Modern Jazz Quartet: John Lewis on piano, Milt Jackson on vibraphone, Percy Heath on bass Kenny Clarke on drums. Here is Track 2:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/f7uuCV4GdCo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/f7uuCV4GdCo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Tracks 5 through 12 is Sonny backed by Kenny Drew on piano, Percy Heath on bass and Art Blakey on drums. Track 7 is a good representation of their contribution to the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/5ndN-N5Swx8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/5ndN-N5Swx8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The final track is interesting in that Miles Davis is on piano. Percy Heath is still on bass, with Roy Haynes on drums:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/Epp-StLQXEw?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Epp-StLQXEw?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>My final recommendation (in this post anyway) is <a href="http://www.amazon.com/gp/product/B002NHNJCY?tag=miketarraslifecy" TARGET="_AMZN">Moving Out</a><br /><center><a href="http://www.amazon.com/dp/B002NHNJCY?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/movingout.jpg"></a></center><p>Perhaps I am biased because Thelonious Monk is on one of the tracks, but this 1954 album ranks up there with <a href="http://www.amazon.com/gp/product/B004ADV552?tag=miketarraslifecy" TARGET="_AMZN">Saxophone Colossus</a> as far as I am concerned. That, of course, is only a personal opinion.<p>You have an excellent opportunity to study Percy Heath and Art Blakey interacting on bass and drums, with Elmo Hope on piano completing the rhythm section. And, of course, the interplay between Kenny Dorham's trumpet and Sonny's tenor is the core of the album. On the last track when Monk takes over piano with Tommy Potter on bass and Art Taylor on drums, you can compare rhythm sections backing Sonny and Kenny. Here is the Monk/Potter/Taylor track:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/dd0a2bNlTOQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dd0a2bNlTOQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Compare to a track with Hope/Heath/Blakey as the rhythm section (and note Sonny's gorgeous tone on this tune):<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/8suSMnUS0dA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8suSMnUS0dA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I will end with a clip of Rollins in Denmark, 1965, with another national treasure - Alan Dawson - on drums and <i>The Great Dane with the Never-Ending Name</i>, Niels-Henning Ørsted Pedersen on bass. This performance exemplifies Rollins' piano-less trio format. <br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/cv92fHYDyNY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/cv92fHYDyNY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-68967130681834602922012-09-10T21:36:00.000-04:002012-09-10T21:36:18.822-04:00Sonny Rollins: Living National TreasureWhile writing <a href="http://drumz4sale.blogspot.com/2012/09/early-coltrane-study-in-dynamics-and.html" TARGET="_m4d1">Early Coltrane: A study in dynamics and evolution of jazz</a> and a short follow-up <a href="http://drumz4sale.blogspot.com/2012/09/this-trane-fell-through-cracks.html" TARGET="_m4d2">This Trane fell through the cracks</a> I had a nagging feeling that I needed to mention Sonny Rollins.<br /><center><img src="http://www.volusiagig.com/music/sonnyrollins.jpg"></center><p>Although I had the opportunity to dig deeper, I did not want to dilute Coltrane's accomplishments, so this post is going to focus on Rollins. A good starting point is this excellent BBC documentary about Sonny:<br /><center><object width="640" height="480"><param name="movie" value="http://www.youtube.com/v/yUKWS4vYD8A?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/yUKWS4vYD8A?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="640" height="480" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>That Rollins and Coltrane were mutual admirers is amply shown in <a href="http://drumz4sale.blogspot.com/2012/09/this-trane-fell-through-cracks.html" TARGET="_m4d2">This Trane fell through the cracks</a>. While they shared many things in common, including both starting on alto before taking up tenor, there were key differences between the two. A key difference is how Rollins would keep reinventing himself, while Coltrane evolved in a seamless, almost logical way to musical concepts that continue to exert major influence on all genres of music.<p>Rollins' influence, while perhaps not as far reaching across genres, is significant within jazz and has reached audiences who would not consider themselves to be jazz aficionados.<p>As a musician you will find him worth studying because of his highly rhythmic style, which he established as early as 1957 with his ground breaking piano-less trio format. The composition or that format was a drummer and bassist. If you are a drummer or bassist, then I need not tell you how valuable his recordings in that format are for studying <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d3">importance of bass</a> in an ensemble. Two excellent 1957 albums that showcase this format are <a href="http://www.amazon.com/gp/product/B0048VX022?tag=miketarraslifecy" TARGET="_AMZN">A Night At The Village Vanguard</a> and <a href="http://www.amazon.com/gp/product/B003D5GWRY?tag=miketarraslifecy" TARGET="_AMZN">Way Out West</a>. Here is a clip from the afternoon set from the <a href="http://www.amazon.com/gp/product/B0048VX022?tag=miketarraslifecy" TARGET="_AMZN">A Night At The Village Vanguard</a> album. The album is divided into two sets: afternoon featuring Pete LaRoca on drums and Don Bailey on bass and evening featuring Elvin Jones on drums and Wilbur Ware on bass. Here is Miles Davis' <i>Four</i> with Laroca and Bailey:<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/Txlt6-TjxOE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Txlt6-TjxOE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>It's easy to judge fast tempo music like <i>Four</i>, but a real test of a piano-less trio - in my opinion - is how well they handle ballads and slower tempo material. This track from <a href="http://www.amazon.com/gp/product/B003D5GWRY?tag=miketarraslifecy" TARGET="_AMZN">Way Out West</a> features the great Ray Brown on bass and the equally great Shelly Manne on drums:<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/L4dZV3U1ZsU?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/L4dZV3U1ZsU?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>As innovative as the two albums mentioned are, Rollins will forever be remembered by two others: <a href="http://www.amazon.com/gp/product/B000UB073Y?tag=miketarraslifecy" TARGET="_AMZN">Tenor Madness</a> and <a href="http://www.amazon.com/gp/product/B004ADV552?tag=miketarraslifecy" TARGET="_AMZN">Saxophone Colossus</a>.<br /><p><center><a href="http://www.amazon.com/dp/B000UB073Y?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/tenormadness.jpg"></a></center><p><a href="http://www.amazon.com/gp/product/B000UB073Y?tag=miketarraslifecy" TARGET="_AMZN">Tenor Madness</a>: This 1956 album preceded another landmark Rollins' masterpiece, <a href="http://www.amazon.com/gp/product/B004ADV552?tag=miketarraslifecy" TARGET="_AMZN">Saxophone Colossus</a>, and is also an important album because of the collaboration between Rollins and John Coltrane on the title track.<p>Other personnel on this album were Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums. John Coltrane is only on track 1, Tenor Madness.<p>Twelve minutes of Rollins and Coltrane on track 1 is reason enough to own this album. Hear for yourself:<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/KW33ye4fPBA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/KW33ye4fPBA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>However, there are no duds among all of the tracks. A bit of trivia: Paul's Pal was written in honor of Paul Chambers (whose bass on this album is worth a close listen, as is Red Garland's piano.) Indeed, the entire line-up is like a Miles Davis reunion, and Chambers and Coltrane would go on to be members of the ensemble that recorded one of the best selling jazz albums of all time, <a href="http://drumz4sale.blogspot.com/2012/06/kind-of-blue-part-1.html" TARGET="_kob">Kind Of Blue</a>.<p><center><a href="http://www.amazon.com/dp/B004ADV552?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/saxcol.jpg"></a></center><p>Recorded the same year as his earllier Masterpiece, <a href="http://www.amazon.com/gp/product/B000UB073Y?tag=miketarraslifecy" TARGET="_AMZN">Tenor Madness</a>, Rollins hits another one out of the park with this album.<p>The line-up here is completely different from Tenor Madness, with Tommy Flanagan on piano, Doug Watkins on bass and Max Roach on drums. Watkins is a bassist to whom I pay close attention, which makes this album all the more valuable to me. He was Charles Mingus choice to replace himself (so he could play piano) on <a href="http://www.amazon.com/gp/product/B00124DPV4?tag=miketarraslifecy" TARGET="_AMZN">Oh Yeah</a>, and had Watkins not died at 27 he had the potential to be one of jazz's top bassists.<p>Of course Saint Thomas is the reason most non-jazz aficionados love this album. Instead of providing a clip of that song from the album I am going to include one of my favorite live performances with a different line-up as an example. My reason is the interplay between the great Niels-Henning Orsted Pedersen on bass and Tootie Heath on drums is a study in <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d3">importance of bass</a>, and especially with respect to Rollins' own contribution to the rhythm. Kenny Drew is on piano:<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/v4DTR0I7xhA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/v4DTR0I7xhA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>As much as I love St. Thomas, my personal favorites from the album are are Moritat (also known as Mack the Knife) and Blue 7.<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/ox5MUXvhzK8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ox5MUXvhzK8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/59aXJ8GvMYE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/59aXJ8GvMYE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>However, personal favorites aside, I hold every track on this album to be a masterpiece. Not a bad effort for a 26 year old who had previously that year made a landmark album that would be hard to top. Whether he managed to top those achievements is an argument that I'll leave to others. What he did in the ensuing 56 years is continue to perform, inspire and make an indelible mark on music. I am going to end this post with later performances and leave it to you to explore his music throughout its many reinventions.<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/-7WMwzj4Mbc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-7WMwzj4Mbc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/wugrn0TgB8o?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/wugrn0TgB8o?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center>Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-89839200346785344242012-09-07T04:31:00.007-04:002012-09-07T05:27:24.844-04:00This Trane fell through the cracksA true gem fell through the cracks in my <a href="http://drumz4sale.blogspot.com/2012/09/early-coltrane-study-in-dynamics-and.html" TARGET="_m4d">Early Coltrane: A study in dynamics and evolution of jazz</a>. In an ensuing <a href="http://www.drumforum.org/index.php?/topic/72056-early-coltrane/" TARGET="_dfod">discussion</a> on one of the best drummer discussion boards, <a href="http://www.drumforum.org/" TARGET="_dfo">drumforum.org</a>, a very knowledgeable member who goes by <i>5 Style</i> introduced me to a rare album titled <a href="http://www.amazon.com/gp/product/B000005HFY?tag=miketarraslifecy" TARGET="_AMZN">Like Sonny</a>. This one literally fell through the cracks and does not show up on some mainstream discographies.<br /><center><a href="http://www.amazon.com/dp/B000005HFY?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/likesonny.jpg"></a></center><p>Actually it's two albums with the first four tracks recorded in Los Angeles on 8 September 1960.<p>One of the reasons it is difficult to track down is the <a href="http://www.amazon.com/gp/product/B000005HFY?tag=miketarraslifecy" TARGET="_AMZN">product page</a> credits Blue Note as the label, but the first four tracks were recorded for <a href="http://en.wikipedia.org/wiki/Roulette_Records" TARGET="_wiki">Roulette Records</a>, which was label that the Genovese crime family used as a front.<p>The 1960 sessions comprising <a href="http://www.amazon.com/gp/product/B000005HFY?tag=miketarraslifecy" TARGET="_AMZN">Like Sonny</a> (Roulette ROU 1012) consisted of track one that is the alternate take of Exotica and the remaining three recorded for an album titled <a href="http://www.amazon.com/gp/product/B002JQNYK6?tag=miketarraslifecy" TARGET="_AMZN">John Coltrane & Lee Morgan: The Best of Birdland, Vol 1</a> (Roulette SR 52094.) The tracks that are included from that album are:<br />Exotica<br />One For Four (aka Mr. Day)<br />Simple Like (aka Like Sonny)<p>Musicians on these tracks are Trane on alto, McCoy Tyner on piano, Steve Davis on bass and Billy Higgins on drums. There is no playing by Lee Morgan evident despite the title because all of the tracks were taken from side A of the album. On the B side were Lee Morgan, Wayne Shorter, Bobby Timmons, Jimmy Rowser and the ubiquitous and prolific Art Taylor. Heck, replace Taylor with Art Blakey and you practically have a Jazz Messengers line up!<p>The last six tracks are from a November 1958 session in New York City for an album titled <a href="http://www.amazon.com/gp/product/B005C8F2OO?tag=miketarraslifecy" TARGET="_AMZN">A Tuba Jazz</a> (Jubilee JLP 1090).<p>Personnel are Ray Draper on tuba, Trane on tenor, John Maher on piano, Spanky DeBrest on bass and Larry Richie on drums. Tracks are:<br />Essil's Dance<br />Doxy<br />I Talk To The Trees<br />Yesterdays<br />Oleo<br />Angel Eyes<p>If you caught the fact that this album was recorded for <a href="http://en.wikipedia.org/wiki/Jubilee_Records" TARGET="_wiki2">Jubilee Records</a> and are further confused by the pedigree, <a href="http://en.wikipedia.org/wiki/Roulette_Records" TARGET="_wiki">Roulette Records</a> assumed control of Jubilee's catalog in the late 70s/early 80s. Eventually EMI and Warner Music acquired the rights to the catalogs.<p>Here are some sample tracks from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/QtEK6gsvtOU?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/QtEK6gsvtOU?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/XC3iR_GkrBM?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/XC3iR_GkrBM?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/gB69pq3XkN8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gB69pq3XkN8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Since I am unlikely to post anything more specifically about Coltrans in the near future I am going to include some interviews and a brief piece about the Coltrane-Sonny Rollins connection (appropriate since the <i>Sonny</i> in the title <i> <a href="http://www.amazon.com/gp/product/B000005HFY?tag=miketarraslifecy" TARGET="_AMZN">Like Sonny</a></i> is an homage to Rollins.)<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/KckpQYnrozQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/KckpQYnrozQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>And, finally, two interviews from the period. I am not going to editorialize on either because at the time I am sure the interviewers were doing their best. The first is from 1958 and the final is 1960.<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/LNDctL6IenQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LNDctL6IenQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/24ZH3nA7UMc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/24ZH3nA7UMc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Enjoy ... and do check out my recent post on my other blog, <a href="http://snaredrumz.blogspot.com/2012/09/lewis-nash-master-class.html" TARGET="_sda">Lewis Nash Master Class</a>. Plus, for fun since it's no secret that I am a hard-core Mingus fan, check out <a href="http://www.furious.com/perfect/mingusplay.html" TARGET="_trane">Mingus, Coltrane, Vicious, and Buddha Having Lunch in a Greek Diner in Tibet</a>, which is a delightful combination of short story and one act play that Joseph Benzola graciously bestowed on the world. One finds genius in the most unlikely of places. <br /><br /><br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-24779992292928075812012-09-04T21:50:00.164-04:002013-01-07T19:23:32.046-05:00Early Coltrane: a study in dynamics and evolution of jazzRecent posts have either touched on Coltrane (<a href="http://drumz4sale.blogspot.com/2012/08/prelude-to-monk.html" TARGET="_premonk">Prelude to Monk</a>), or focused on specific works (<a href="http://drumz4sale.blogspot.com/2012/08/giant-steps.html" TARGET="_giantsteps">Giant Steps</a>.) This one, however, will deal mainly with Coltrane's Prestige years with some reference to the period leading to those.<p>There are a few reasons why I selected this period.<p>First, his evolution and growth as a musician are clearly evident from the chronology represented by the recordings. If you exercise critical listening, then you can not only follow that evolution and growth, but also get a sense for where mainstream jazz was headed during that era. Ironically, it will also provide indications of Trane's own departure from what was then the mainstream that would culminate in <a href="http://drumz4sale.blogspot.com/2012/08/giant-steps.html" TARGET="_giantsteps">Giant Steps</a>, after which he would go in a totally different direction.<p>Second, the musicians from this era were playing in smaller ensembles - mainly trios, quartets and quintets - in smaller venues, so their use of dynamics were finely honed. This is well worth studying.<p>Finally, the rhythm sections backing Trane during the Prestige era in particular were solid. In fact, many if not most of his sessions were backed by Red Garland on piano, Paul Chambers on bass and Art Taylor on drums. For the time and the music those three and their other contemporaries who backed Coltrane were perfect.<p>The first known recordings Trane made were in a 1946 jam session that has been issued on <a href="http://www.amazon.com/dp/B000FOT6MY?tag=miketarraslifecy" TARGET="_AMZN">First Giant Steps</a>.<br /><center><a href="http://www.amazon.com/dp/B000FOT6MY?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/firstgiantsteps.jpg"></a></center><p>This is a fascinating glimpse into Trane's earliest recordings circa 1946 and 1954. The first eight tracks feature him - still in the US Navy - on alto saxophone, the instrument he started with.<p>If you go to the linked page you will see that the first eight tracks are divided between bebop and Nat King Cole tunes. The date and location are 13 July 1946 in Hawaii and the full ensemble (all sailors) are: Dexter Culbertson on trumpet, John Coltrane on alto sax, Norman Poulshock on piano, Willie Stauder on bass and Joe Theimer on drums. Benny Thomas is the vocalist on Embraceable You, It's Only a Paper Moon, Sweet Lorraine and Now's the Time.<p>Here he is on a track from the album doing his utmost to be Bird:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/MGnY-axUH0U?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MGnY-axUH0U?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The remaining tracks are from a June 1954 radio broadcast from Los Angeles. These tracks are led by Ellington's star alto, Johnny Hodges, with Trane on tenor. Other personnel are: Harold "Shorty" Baker on trumpet, Lawrence Brown on trombone, , Call Cobbs on piano, John Williams on bass and Joe Marshall on drums.<p>Sound quality is adequate considering the sources (a 1946 jam session and a 1954 radio broadcast.) The historical value to a hard core Coltrane fan or an amateur like myself is significant. Casual listeners may want to pass this one up.<p>A better starting point in my opinion is <a href="http://www.amazon.com/dp/B0010DJ278?tag=miketarraslifecy" TARGET="_AMZN">Early Trane</a>. This is a relatively inexpensive box set of mid-1950s John Coltrane that showcases his early development. There are collections that are heavily slanted towards his early years with Miles Davis, and there are others that are overwhelming for those who came to know Trane from his later years and are curious about what he did prior to A Love Supreme and later. This one is a perfect balance for the casual listener.<br /><center><a href="http://www.amazon.com/dp/B0010DJ278?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/earlytrane.jpg"></a></center><p>What this set provides is a collection of sessions strictly from 1956 and 1957 (with two exceptions noted below), most of which has Coltrane as a side man.<p>The exceptions I noted above are the first two tracks from CD 1: Beer Drinking Baby and We Love to Boogie.<p>Beer Drinking Baby was recorded circa 1949 in Los Angeles and published on the Mercury label. That Trane is actually the tenor on this track is somewhat disputed, and even the year and place have been questioned. Some accounts have it as New York and 1950.<p>We Love to Boogie is Trane with Dizzy Gillespie in 1951 and is reputedly his first recorded solo. Both pieces are R&B or R&B flavored, which is evidenced by We Love to Boogie:<br /><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/N6uDT8LYwvI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/N6uDT8LYwvI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The first three discs in this set are mainly Trane as sideman with Miles Davis, Tad Dameron, Red Garland, various incarnations of <i>Prestige All Stars</i>, with a sprinkling of Thelonious Monk (including one track from the July 1957 <a href="http://www.amazon.com/gp/product/B000UBOS0M/ref=cm_cr_asin_lnk" TARGET="_AMZN">Thelonious Monk With John Coltrane</a>, and Mal Waldron and Paul Quinichette.<p>Here are some samples:<br /><center><b>From Disc 1<br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/tDSaMiRe4Lg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/tDSaMiRe4Lg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />From Disc 2<br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/LlF34Oueu7k?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LlF34Oueu7k?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />From Disc 3<br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/eCEqo3mfkRk?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/eCEqo3mfkRk?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center></b> The final disc is a collection of sessions that were all led by Coltrane on August 23, 1957 and September 15, 1957 (either with the Red Garland Trio or Coltrane's own sextet.) Here is one track that literally pops out at you:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/XpZHUVjQydI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/XpZHUVjQydI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>As you can see (and hear), there are ample examples of Trane's early work in this set, as well as markers showing his evolution and growth. Moreover, the music - as I promised - is a study in dynamics. This set is probably all the early Coltrane most folks need. However, if you are obsessive-compulsive like me, then this would whet an appetite.<p>The price of being obsessive-compulsive is pretty steep these days, and when it comes to Coltrane's Prestige years the going rate is around $160 for the 16 disc set titled <a href="http://www.amazon.com/gp/product/B000000ZC3?tag=miketarraslifecy" TARGET="_AMZN">The Prestige Recordings</a>.<br /><center><a href="http://www.amazon.com/dp/B000000ZC3?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/completeprestigecoltrane.jpg"></a></center></p>There are a few reasons why I did not rush out and snap this set up<ul><li>As much as I love Coltrane in that era, there are other albums I would rather purchase first</li><li>Now that I am retired and on a fixed income I cannot always afford to indulge my impulses</li><li>The set can be purchased in increments</li></ul>Yes, instead of saving up and plunking down a chunk of money that would stretch my finances, the entire output of Coltrane's Prestige years can be purchased in more affordable sub sets, and at a total for the individual sets than the cost of the whole shebang. The three sets are:<ol><li><a href="http://www.amazon.com/gp/product/B002N57XBO?tag=miketarraslifecy" TARGET="_AMZN">Side Steps</a> featuring Trane as a sideman</li><li><a href="http://www.amazon.com/gp/product/B000ULQVCA?tag=miketarraslifecy" TARGET="_AMZN">Interplay</a> featuring him as co-leader</li><li><a href="http://www.amazon.com/gp/product/B000H30CBM/?tag=miketarraslifecy" TARGET="_AMZN">Fearless Leader</a>, as leader which the name implies</li></ol>There are few things I would like to say about the first two sets. One is if you compare <a href="http://www.amazon.com/gp/product/B000ULQVCA?tag=miketarraslifecy" TARGET="_AMZN">Interplay</a> to <a href="http://www.amazon.com/dp/B0010DJ278?tag=miketarraslifecy" TARGET="_AMZN">Early Trane</a> you will notice some overlap. Indeed, there is redundancy between it and <a href="http://www.amazon.com/gp/product/B002N57XBO?tag=miketarraslifecy" TARGET="_AMZN">Side Steps</a> as well. Finally, figuring out when Trane was truly a sideman and when he was a co-leader can sometimes be akin to trying to nail jelly to a tree. The roles shifted and the distinctions are sometimes ambiguous. If you are the pedantic type this sort of thing may appeal to you. However, the question is how much is enough. For me, all of the sets contain gems, but mainly because I love the period and the music from that period.<p>Here are the sets, one by one:<h2><a href="http://www.amazon.com/gp/product/B002N57XBO?tag=miketarraslifecy" TARGET="_AMZN">Side Steps</a></h2><center><a href="http://www.amazon.com/dp/B002N57XBO?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/tranesidesteps.jpg"></a></center><p>Five discs (plus a <a href="http://www.volusiagig.com/music/Side-Steps-Digital-Booklet.pdf" TARGET="_booklet">72-page booklet</a>.) An excellent <a href="http://www.allaboutjazz.com/php/article.php?id=34369" TARGET="_alljazz">review by Chris May</a> covers this set in detail. I will say that the Red Garland tracks are among the highlights, but I am a Red Garland fan. Here is one I especially love tnat is track one on disc 4 (the line-up is Donald Byrd on trumpet, Trane on tenor, Red Garland on piano, George Joyner on bass and Art Taylor on drums:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/WVa2u6d-p3g?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/WVa2u6d-p3g?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>One more, this from track 9 on disc 4 with Tadd Dameron on piano, Trane on tenor, John Simmons on bass and Philly Joe Jones on drums:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/JSKdLaK8iNA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/JSKdLaK8iNA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>One note: you will not find Trane as Miles Davis' sideman in this set (although you will in <a href="http://www.amazon.com/dp/B0010DJ278?tag=miketarraslifecy" TARGET="_AMZN">Early Trane</a>, which is an import.) You'll need yet another Prestige reissue set for the Davis/Coltrane collaborations: <a href="http://www.amazon.com/gp/product/B000F5GNXS?tag=miketarraslifecy" TARGET="_AMZN">Legendary Prestige Quintet Sessions</a>.<br /><h2><a href="http://www.amazon.com/gp/product/B000ULQVCA?tag=miketarraslifecy" TARGET="_AMZN">Interplay</a></h2><center><a href="http://www.amazon.com/dp/B000ULQVCA?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/traneinterplay.jpg"></a></center><p>The five discs in this set cover Coltrane as a co-leader from 1956 through 1958. Like all of the Prestige reissue sets this comes with a valuable booklet. In the case of this set, the booklet is 60 pages, and has liner notes by Nat Hentoff as well as album notes by renowned Lewis Porter (who is the author of <a href="http://www.amazon.com/gp/product/B000F5GNXS?tag=miketarraslifecy" TARGET="_AMZN">John Coltrane: His Life and Music</a>), as well as the original album notes. In other words, everything a jazz geek or amateur jazz historian could desire.<p>While Red Garland dominated <a href="http://www.amazon.com/gp/product/B002N57XBO?tag=miketarraslifecy" TARGET="_AMZN">Side Steps</a>, Mal Waldron dominates this set by performing on twenty tracks compared to the eight that Tommy Flanagan are on, or the scant five that feature Red Garland.<p>I would be remiss if I failed to mention the <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d">importance of bass</a>. All but four tracks feature Paul Chambers and Doug Watkins, the remaining four feature Julian Euell. While Chambers is considered to be one of the best ever, Watkins was a rising star who passed at too young an age and his inclusion in this set adds value to any bassist who wants to study his style. Art Taylor, possibly one of the most prolific drummers of the era, dominates the set. However, Jimmy Cobb, Louis Hayes and Ed Thigpen are also represented and are reasons for drummers to own this set.<br /><center><b>From track 2 disc 1<br /><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/MKBsQkZaYx0?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MKBsQkZaYx0?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />From track 7, disc 3<br /><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/jMiTibUCEOk?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/jMiTibUCEOk?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></b></center><p><h2><a href="http://www.amazon.com/gp/product/B000H30CBM?tag=miketarraslifecy" TARGET="_AMZN">Fearless Leader</a></h2><center><a href="http://www.amazon.com/dp/B000H30CBM?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/tranefearless.jpg"></a></center><p><a href="http://www.allaboutjazz.com/php/article.php?id=23500" TARGET="_aaj">John Kelman's review</a> of this set is in my opinion spot on. This set contains six discs that feature Coltrane as a leader starting in 1957. Of the three sets in the Prestige series this is the one I most like. Here are a few tracks from this album that validate my opinion:<br /><b><center>Track 4, disc 2<br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/YlypEkZtBI8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/YlypEkZtBI8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br />Track 4, disc 6</br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/gIkT3CyT5Dk?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gIkT3CyT5Dk?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center></b><p>If you are on a constrained budget <a href="http://www.amazon.com/gp/product/B005ZEHSFG?tag=miketarraslifecy" TARGET="_AMZN">Coltrans: Birth of a Genius</a> has gems across all three of the above sets at a fraction of the price of any single one. Do note that while the attribution of this album is the Red Garland Trio, this album is not by, nor focused on, Garland or his trio. Red, Paul Chambers, Art Taylor and Philly Joe Jones, trio alumni, are well represented throughout the nearly four hours of superb music. However, so are others, including pianists like Monk and Mal Waldron, to name a few.<p>What you do get is Coltrane playing bebop and straight ahead jazz before he became enchanted with John Gilmore's ideas and extended them with his own group. As I stated, I personally prefer the John Coltrane of this period, so I consider this album to be a real treasure.<p>A full track listing and sound samples are on the page to which I linked this title. It would be hard for me to pick out any specific favorites because there are so many, but among my top choices would be the collaboration with Sonny Rollins on Tenor Madness (which does have Red Garland, Paul Chambers and Philly Joe Jones), as well as the collaborations with Monk. And, of course, the tracks with Miles. If I am not careful I'll wind up listing every track, so suffice to say that this album is a good sampling of earlier Coltrane before he carved out his own niche as a bandleader.<p>If you like circa 1950s/early 1960s jazz, you will probably find the 3 hours and 44 minutes of music on the album to be enjoyable. If you are a hard core Coltrane fan you probably have every track scattered across many albums, but this is a way to collect some of his best early work in one place. <br /><center><a href="http://www.amazon.com/dp/B005ZEHSFG?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/tranebirth.jpg"></a></center><p>While my interest in Coltrane's music stopped after his first Atlantic recording, <a href="http://drumz4sale.blogspot.com/2012/08/giant-steps.html" TARGET="_gsteps">Giant Steps</a>, many of his most avid fans focus on the Atlantic years and beyond. Here are a few recommendations that I'll throw out there, but cannot comment intelligently on given the fact that I infrequently listen to his later work:<p><a href="http://www.amazon.com/gp/product/B0000033K2?tag=miketarraslifecy" TARGET="_AMZN">The Heavyweight Champion: The Complete Atlantic Recordings of John Coltrane</a> is a seven-CD set of everything he recorded for Atlantic:<br /><center><a href="http://www.amazon.com/dp/B0000033K2?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/traneatlantic.jpg"></a></center><p><a href="http://www.amazon.com/gp/product/B00000DHZ9?tag=miketarraslifecy" TARGET="_AMZN">Coltrane: The Classic Quartet - The Complete Impulse! Studio Recordings</a> comprised of eight CDs that includes everything he did in the studio for Impulse.<br /><center><a href="http://www.amazon.com/dp/B00000DHZ9?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/traneimpulse.jpg"></a></center><p>I do highly recommend <a href="http://www.amazon.com/gp/product/B00354XVIQ?tag=miketarraslifecy" TARGET="_AMZN">The World According to John Coltrane</a>, which is a short - some would say <i>too short</i> - documentary that clocks in around an hour.<br /><center><a href="http://www.amazon.com/dp/B00354XVIQ?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/worldtrane.jpg"></a></center><p>I hope this piece piques your interest in one of the greatest jazz musicians of his era, and someone who continues to exert a major influence on music today.<br /><br /><br /><br /><br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-54294104376132074362012-09-01T02:28:00.003-04:002012-12-28T10:04:31.851-05:00Thelonious Monk: American genius and drummer's patron saintMere days ago I made the case for <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_m4d">studying pianists</a> instead of drummers to develop the listening skills, sense of rhythm and knowledge of music to be an effective drummer. I made no secret of the fact that my personal favorites are Teddy Wilson, Bud Powell and Thelonious Monk. However, personal favorites are just that: personal. That almost always translates into subjectivity and matters of taste. In the case of Monk, though, you may find that he warrants a top spot in any drummer's pursuit of a deeper understanding of music via studying pianists.<p>If you need a reason to study Monk here is one that is as good as any: the drummers he chose for his ensembles. Here are a few that should convince you: <a href="http://drumz4sale.blogspot.com/2012/05/addendum-to-jazz-messenger-albums.html" TARGET="_blakey">Art Blakey</a>, Philly Joe Jones, <a href="http://drumz4sale.blogspot.com/2012/08/prelude-to-monk.html" TARGET="_shadoww">Shadow Wilson</a>, Roy Haynes, Ben Riley and Frankie Dunlop to name but a few.<p>Also, Monk's ideas about music and drummers are interesting:<br /><center><img src="http://www.volusiagig.com/music/monk.jpg"></center><p>One of Monk's drummers - I cannot remember who - mentioned that if Monk detected the drummer getting comfortable in a certain tempo, he would change it to keep him on his toes. That shows in Monk's recordings and performances. I cannot count the various renditions - recorded and live - I have heard of Monk's standards like <i>Blue Monk</i> or <i>Straight, No Chaser</i>, and how different each was. Especially the tempo. That, along, should compel any drummer to listen to a lot of Monk and to practice to some of his albums.<p>The key question is, <i>where to start</i>? I am a big believer in bang-for-your-buck, when possible, when I am shopping for music and I typically look at box sets and imports first. Here are three collections that are [relatively] inexpensive and filled with examples of Monk's music and his drummers. First is <a href="http://www.amazon.com/dp/B000PTYRXW?tag=miketarraslifecy" TARGET="_AMZN">Mysterious Blues</a>. <br /><center><a href="http://www.amazon.com/dp/B000PTYRXW?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/monk10box.jpg"></a></center><p>The ten discs in this set range from 1944 to 1956 and most of the tracks feature Monk as a sideman more often than as a leader.<p>I found the sound quality to be more than acceptable, but certainly not up to audiophile standards.<p>The only information given with respect to tracks is a listing on the back of the box, and a slightly more expanded version on the back of each cardboard wallet that also includes the composer credit and running time for each track, plus total time for the disc.<p>I have managed to track down some - but not all - information for the discs. I can nail down the sources of a handful of tracks from each disc. Here is a summary:<ul><li>CD1 contains some tracks from Coleman Hawkins - Bean And The Boys (Prestige PR 7824) recorded in October 19, 1944.</li><li>CD2 contains some tracks from Thelonious Monk - Genius Of Modern Music, Vol. 1 (Blue Note BLP 1510) recorded in October 1947.</li><li>CD3, CD4 and and CD5 contain some tracks from The Complete Blue Note Recordings Of Thelonious Monk (Mosaic MR4-101) recorded between 1947 and 1952.</li><li>CD6 and CD7 contain some tracks from Thelonious Monk - Monk (Prestige PRLP 7053) recorded in November 1953 and May 1954.</li><li>CD8 contains some tracks from Thelonious Monk And Sonny Rollins (Prestige PRLP 7075) recorded between November 1953 and October 1954.</li><li>CD9 contains tracks from two albums: Miles Davis - Bags' Groove (Prestige PRLP 7109) and Miles Davis And The Modern Jazz Giants (Prestige PRLP 7150), both of which were recorded during the same session on December 24, 1954.</li><li>CD10 seems to have individual tracks taken from a number of recordings, making it nearly impossible to cite a single source for the majority of tracks.</li></ul>While this is not a set of Monk's primary works, it is a nice filler to a collection. It is also valuable because it provides examples of Monk's early work, as well as glimpses of him as a sideman on some important sessions with Coleman Hawkins, Miles Davis and Sonny Rollins. <p>Here is a track from CD8 (featuring <a href="http://drumz4sale.blogspot.com/2012/06/art-taylor-in-action.html" TARGET="_ataylor">Art Taylor</a> on drums):<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/dd0a2bNlTOQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dd0a2bNlTOQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The above box set has examples from Monk's Blue Note sessions, so the next two recommendations I am going to make pick up in the Prestige and Riverside years, then into the Comumbia period.<p>The Prestige and Riverside years are well represented in <a href="http://www.amazon.com/dp/B001J662QA?tag=miketarraslifecy" TARGET="_AMZN">Four Classic Albums</a><br /><center><a href="http://www.amazon.com/dp/B001J662QA?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/monk4classic.jpg"></a></center><p>The albums included in this set are:<ol><li><a href="http://www.amazon.com/dp/B000000Y1B?tag=miketarraslifecy" TARGET="_AMZN">Thelonious Monk Plays The Music Of Duke Ellington</a><br /></li><li><a href="http://www.amazon.com/dp/B000FZET5W?tag=miketarraslifecy" TARGET="_AMZN">Thelonious Monk & Sonny Rollins</a><br /></li><li><a href="http://www.amazon.com/dp/B0012S59ZU?tag=miketarraslifecy" TARGET="_AMZN">Brilliant Corners</a><br /></li></li><li><a href="http://www.amazon.com/dp/B000OLHG66?tag=miketarraslifecy" TARGET="_AMZN">Thelonious Monk Trio</a></li></ol>The first album is Monk's homage to Duke, featuring Oscar Pettiford on bass and the great Kenny Clarke ("Klook") on drums. As an Ellington fan this album to me is a treasure. As a drummer, Klook and Pettiford provide a standard for how the bassist and drummer should <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d">lock in</a>, and Monk's playing epitomizes beauty (to me).<p>It's a temptation to cop out and include a clip of the trio playing Caravan, but I am going to include the one track that showcases Monk's love for Ellington and superb musicianship of Monk and the ensemble because this would be the last song I would want to tackle in a piano trio:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/QdVGMkVC-x8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/QdVGMkVC-x8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I happen to be a Sonny Rollins fan to the point of considering him a national treasure, so when I first heard this album I focused on his and Monk's playing. Later I cane to realize what a treasure this album is with respect to <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d">bassist-drummer collaboration</a>, and also the diversity of drumming styles throughout the relatively short track list. Bassists on this album are Percy Heath of Modern Jazz Quartet fame and Tommy Potter who was a stalwart in Charlie Parker and Miles Davis ensembles (among others.) Drummers on this album are Art Blakey, Art Taylor and one about whom I know next to nothing, Willie Jones.<p>Here is Tommy Potter and Art Taylor backing Monk and Rollins on one of the tracks from the album:<br /><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/V0fPYzyB2AQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/V0fPYzyB2AQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Another amazing tenor saxophonist with whom Monk collaborated is John Coltrane. See <a href="http://drumz4sale.blogspot.com/2012/08/prelude-to-monk.html" TARGET="p2monk">Prelude to Monk</a> for specifics and clips.<p>Brilliant Corners is much more than just another album in this set. In 2003 the Library of Congress included it a group of fifty recordings chosen that year by to be added to the National Recording Registry. And the moniker <i>brilliant</i> in the title is appropriate. As a drummer you should appreciate Max Roach in the drum chair (not to mention the inclusion of Oscar Pettiford and Paul Chambers on bass). As a musician, though, you should not focus on any one aspect of this album for the first few hundred listens - step back and let the entire album bathe you in brilliant genius. Then start listening to Max. Here is a beautiful piece composed by Monk in honor if his dear friend <a href="http://drumz4sale.blogspot.com/2012/07/break-in-flow-for-nica.html" TARGET="_nica">Pannonica de Koenigswarter</a>. Max's brush work on this track is exquisite in my opinion. You can hear the love in Monk's playing and his adding the celeste into the composition giving it a classical European flavor shows Monk's keen intellect. Sonny Rollins on tenor and Ernie Henry on alto add music to the piece, and, of course, Oscar Pettiford is right there with Max.<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/uwhTOVe0APg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uwhTOVe0APg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The final album in this set provides yet another study in <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_m4d">bassist-drummer collaboration</a>. Here is Percy Heath on bass (and his only appearance on the album) with Art Blakey on drums performing one of my favorite Monk tunes. Blakey's comping is a joy to hear, and I love the way that Heath holds things down.<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/3z1Ab_4DEZ0?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/3z1Ab_4DEZ0?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The next set of albums is from the Columbia years circa 1962-67: <a href="http://www.amazon.com/dp/B000UO7IM4?tag=miketarraslifecy" TARGET="_AMZN">Original Album Classics</a><br /><center><a href="http://www.amazon.com/dp/B000UO7IM4?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/monkoriginalclassics.jpg"></a></center><p>Albums included in this set are:<ol><li><a href="http://www.amazon.com/dp/B00138F7W4?tag=miketarraslifecy" TARGET="_AMZN">Straight, No Chaser</a></li><li><a href="http://www.amazon.com/dp/B00138F5NU?tag=miketarraslifecy" TARGET="_AMZN">Underground</a></li><li><a href="http://www.amazon.com/dp/B00138D2GW?tag=miketarraslifecy" TARGET="_AMZN">Criss-Cross</a><br /></li><li><a href="http://www.amazon.com/dp/B00136Q1NK?tag=miketarraslifecy" TARGET="_AMZN">Monk's Dream</a></li><li><a href="http://www.amazon.com/dp/B00138D3X4?tag=miketarraslifecy" TARGET="_AMZN">Solo Monk</a></li></ol>Instead of providing a clip from <a href="http://www.amazon.com/dp/B00138F7W4?tag=miketarraslifecy" TARGET="_AMZN">Straight, No Chaser</a>, which features Larry Gales on bass and Ben Riley on drums, with Charlie Rouse on tenor saxophone, I am going to include a live clip from a 1965 BBC broadcast.<br /><center><object width="480" height="360"><param name="movie" value="http://www.youtube.com/v/qO5NeqdPi6M?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/qO5NeqdPi6M?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="480" height="360" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B00138F5NU?tag=miketarraslifecy" TARGET="_AMZN">Underground</a> has the same line-up as <a href="http://www.amazon.com/dp/B00138F7W4?tag=miketarraslifecy" TARGET="_AMZN">Straight, No Chaser</a>, with Jon Hendricks handling vocals on <i>In Walked Bud</i>. One interesting note is the first track - <i>Ugly Beauty</i> is the only waltz among Monk's compositions. At least the recorded ones. Apparently he didn't like 3/4 time. Here is <i>In Walked Bud</i> from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/Go05FQPdYwI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Go05FQPdYwI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>In the next album, <a href="http://www.amazon.com/dp/B00138D2GW?tag=miketarraslifecy" TARGET="_AMZN">Criss-Cross</a>, the line-up changes slightly. Charlie Rouse stays on tenor sax, b ut Monk changes the rhythm section to John Ore on bass, and Frankie Dunlop on drums.<p>Dunlop, according to Monk's son (drummer T.S. Monk) and careful listening, is to Shadow Wilson what <a href="http://www.drummerworld.com/drummers/George_Wettling.html" TARGET="wettling">George Wettling</a> was to <a href="http://drumz4sale.blogspot.com/2010/02/baby-dodds-root-of-our-drumming.html" TARGET="_babydodds">Baby Dodds</a>: someone who kept his style alive. Do not take that to mean I lack respect for Dunlop because he cloned Wilson's style. On the contrary - I think Dunkop was one of Monk's best drummers and hold him in such high esteem that I used him as a shinking example for <a href="http://snaredrumz.blogspot.com/2012/06/using-space-in-solos-and-grooves.html" TARGET="_sda">how to use space in solos and grooves</a>. Again, instead of using a track from the album I am going to use a live performance (although it features Butch Warren instead of John Ore on bass):<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/qweSlfP6BtI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/qweSlfP6BtI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center>To be fair to John Ore and to also give a good idea about how the musicians interact on the album here is a live clip that does have the album's line-up:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/U-RH0gZ5E3E?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/U-RH0gZ5E3E?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Another Rouse-Ore-Dunlop line-up is on <a href="http://www.amazon.com/dp/B00136Q1NK?tag=miketarraslifecy" TARGET="_AMZN">Monk's Dream</a>. This 1963 album is one I urge all jazz fans to own. A quick clip from this masterpiece is:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/1HISecnfIFU?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1HISecnfIFU?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I opened this post with a focus on <i><a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_m4d">studying pianists</a> instead of drummers to develop the listening skills</i>. and <a href="http://www.amazon.com/dp/B00138D3X4?tag=miketarraslifecy" TARGET="_AMZN">Solo Monk</a>, the last albun in this set allows you to do just that. Here are two song from the album that are not only excellent study material to improve your understanding of rhythm, melody and harmony, but as play-along tracks:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/sKAMNaGO5Y4?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/sKAMNaGO5Y4?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/uwducEo5Jek?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uwducEo5Jek?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The sets I mentioned contain albums that will make anyone - regardless of instrument - a better musician if they take the time to critically listen to the music. As a drummer there is a wealth of ideas contained in the music and demonstrated by the musicians (and not just the drummers.)<p>If you are inspired to did deeper into Monk, the man and the genius, here are a few resources I recommend:<ul><li><a href="http://www.amazon.com/dp/1439190461?tag=miketarraslifecy" TARGET="_AMZN">Thelonious Monk: The Life and Times of an American Original</a> by Robin Kelley</li><li><a href="http://www.amazon.com/dp/B002Q1LK9Q?tag=miketarraslifecy" TARGET="_AMZN">Masters of American Music: Thelonius Monk - American Composer</a><br />(see <a href="http://www.amazon.com/review/RJ3UE4LQ99FFA/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B002Q1LK9Q&linkCode=&nodeID=&tag=miketarraslifecy" TARGET="_AMZN">my review</a> of this video documentary)</li><li>Clint Eastwood's wonderful documentary, <a href="http://www.amazon.com/dp/B000053VC9?tag=miketarraslifecy" TARGET="_AMZN">Thelonious Monk - Straight No Chaser</a></li><li>A short page about Nica - <a href="http://drumz4sale.blogspot.com/2012/07/break-in-flow-for-nica.html" TARGET="_nica">Pannonica de Koenigswarter</a> - that I wrote on 17 July 2012 that includes a full length video that has a lot of content about Monk</li></ul>I am going to end this post with two parting shots:<p>First is the composition that changed <a href="http://drumz4sale.blogspot.com/2012/07/break-in-flow-for-nica.html" TARGET="_nica">Nica</a>'s life (and touched a lot of jazz musicians and the music itself in the process). Moreover, if ever you needed proof of Monk's genius, this is it:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/xC68NtEmAcc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xC68NtEmAcc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Second is to dedicate this to my wonderful friend and fellow jazz musician Maggie Shook. Maggie is one of the young jazz artists who not only will ensure that Monk's (and others') work lives on, but has it in her soul. How many other 30-somethings do you know who keeps a giant poster of Monk over their piano? She is currently slipping Monk's influence into the wonderful blues of <a href="http://www.reverbnation.com/rivercitybluezband" TARGET="_maggie">River City Bluz Band</a> of Jacksonville, FL.<p>At some later date I'll post video performance resources.<br /><br /><br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-70657185387144408532012-08-31T03:24:00.003-04:002012-08-31T03:36:55.247-04:00Prelude to MonkAs the dog days of August draw to a close I plan to spend part of September on my <i>holy trinity of pianists</i>: Teddy Wilson, Bud Powell and Thelonious Monk. This will give me a perfect opportunity to tie in <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_m4d">Piano: the other percussion instrument</a> and my personal favorites. I decided to write this post to lay the foundation of the ones to come.<p>Understand that Wilson, Powell and Monk are not the <i>only</i> pianists I admire - they just happen to be three who have influenced me and whose music I listen to every day. Yep, every single day the three of them are in my playlists.<p>As a prelude to Monk I want to introduce an album that until 2005 was <a href="http://jazztimes.com/articles/16037-thelonious-monk-and-john-coltrane-evidence" TARGET="_offsite">either lost or forgotten</a> and relegated to the dust bin of history: <a href="http://www.amazon.com/dp/B000TETIC8?tag=miketarraslifecy" TARGET="_AMZN">Thelonious Monk Quartet With John Coltrane At Carnegie Hall</a><br /><center><a href="http://www.amazon.com/dp/B000TETIC8?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/monktranecarnegie.jpg"></a></center><p>As a drummer the mere fact that Shadow Wilson is on this album is reason enough to study it. However, as a musician, the melding of two dissimilar styles - Coltrane's sheets of sound and Monk's characteristic chordal structures and between-the-cracks scales with a lot of space. Coltrane takes that space and fills it with magic. See my <a href="http://drumz4sale.blogspot.com/2012/08/giant-steps.html" TARGET="_giantsteps">10 August 2012 post</a> for an explanation of <i>Coltrane changes</i> and sheets of sound.<p>First, the <a href="http://jazztimes.com/articles/16037-thelonious-monk-and-john-coltrane-evidence" TARGET="_offsite">story of the discovery</a>:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/6fJ1PFxZZTM?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6fJ1PFxZZTM?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Shadow Wilson's name comes up a few times in the above discussion. The salient point is his drums and cymbals were beautifully captured (which is a big reason I opted to write this post.)<p>But this is about a lot more than drummers. Monk and Coltrane combined their musical genius to produce music that has stood the the test of time and should be studied by every musician regardless of his or her instrument (or preferred genre). Shadow Wilson and bassist Ahmed Abdul-Malik were as <a href="http://drumz4sale.blogspot.com/2012/08/importance-of-bass.html" TARGET="_bassdrums">locked in musically</a> as would be Abdul-Malik and Roy Haynes when Monk and Coltrane would collaborate ten months later, producing <a href="http://www.amazon.com/dp/B004L2YWFM?tag=miketarraslifecy" TARGET="_AMZN">Live At The Five Spot Café '58</a>. <p>Here are some samples from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/GByoYKEq8Dg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/GByoYKEq8Dg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/R7AzHv-_DKQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/R7AzHv-_DKQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>My future posts about Monk will discuss his music and some of my favorite drummers he incorporated into his ensembles over the years. In the meantime, enjoy the music.Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-17722807871886021912012-08-30T02:28:00.005-04:002012-08-30T16:55:41.809-04:00Importance of bassIn <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_m4d">Piano: the other percussion instrument</a> I discussed the importance of listening to pianists to gain an understanding of both melody and harmony as it relates to music. The goal was to promote awareness to drummers who are not versed in theory - the hope being that some critical listening skills and a general awareness of music would improve their value as drummers.<p>To be sure, drummers are <i>not essential</i>. Consider <a href="http://drumz4sale.blogspot.com/2012/08/nat-king-cole-trio-lesson-in-rhythm.html" TARGET="_nkct">the Nat King Cole Trio</a> or Oscar Peterson's first trio with <a href="http://drumz4sale.blogspot.com/2010/03/rip-herb-ellis-august-4-1921-march-28.html" TARGET="_hellis">Herb Ellis on guitar</a> instead of a drummer. Or even a modern example: <a href="http://www.amazon.com/dp/B004O09B4S?tag=miketarraslifecy" TARGET="_AMZN">Lisa Lindsley</a>, who cut a remarkable album with just a pianist and bassist.<p>The lack of a hard requirement for a drummer extends to other genres too. Most of blues vocalist <a href="http://drumz4sale.blogspot.com/2012/08/taking-side-trip-to-bluer-notes.html" TARGET="_ahunter">Alberta Hunter</a>'s later live performances were with just a pianist and bassist.<p>Why am I harping on this? It's to give you pause to consider that as a drummer you need to bring something to the table if you do not want to get replaced by a backing track or guitarist. One way to prove your value is to integrate into the ensemble and support the music instead of just providing time and a beat. And the way to do that is to make the bassist your best friend (which should be the case anyway.)<p>Let's check out a clip where the bassist truly adds to the music sans drummer:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/lXSfQmZbVVo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lXSfQmZbVVo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Here is a famous clip where it's just a bassist and drummer. I am not advocating playing flash and novelty, but the interaction between the two and the fact that the foundation of the rhythm section pulled this off shows what a locked in bassist and drummer can do. The drummer here is the great <a href="http://drumz4sale.blogspot.com/2010/03/ray-bauduc.html" TARGET="_rbauduc">Ray Bauduc</a>:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/zKds65owMew?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/zKds65owMew?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Examples of bass and drums abound, but here is one album that I particularly like: <a href="http://www.amazon.com/dp/B0035RMMZ6?tag=miketarraslifecy" TARGET="_AMZN">Percussion And Bass</a>, if for no other reason that it features one of my favorite drummers and personal inspirations - <a href="http://drumz4sale.blogspot.com/2012/07/papa-jo-jones-revisited.html" TARGET="_papajo">Papa Jo Jones</a> - and does epitomize the partnership between bassists and drummers.<br /><br /><center><a href="http://www.amazon.com/dp/B0035RMMZ6?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/percbass.jpg"></a></center><p>Another album worth checking out is <a href="http://www.amazon.com/dp/B001NB1BN0?tag=miketarraslifecy" TARGET="_AMZN">The Supreme Bassists and Drummers</a>, which is heavily slanted towards Charles Mingus and Dannie Richmond and Art Blakey paired with various bassists. It also has some swing represented by Gene Krupa and Buddy Rich paired with various bassists. Don't let the electric bass on the album cover fool you - all of the bass is played on a double bass by some real masters.<br /><center><a href="http://www.amazon.com/dp/B001NB1BN0?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/bassistsdrummers.jpg"></a></center><p>I could go on and on. For example, the albums mentioned in <a href="http://drumz4sale.blogspot.com/2012/08/my-personal-mount-rushmore.html" TARGET="_m4d">My Personal Rushmore</a> are filled with examples, and are especially rich in recordings by the <i>All-American Rhythm Section</i> comprised of <a href="http://drumz4sale.blogspot.com/2012/07/basie-big-band-leader.html" TARGET="_basie">Basie on piano</a>, Freddie Green on guitar, Walter Page on bass and <a href="http://drumz4sale.blogspot.com/2012/07/papa-jo-jones-revisited.html" TARGET="_papajo">Papa Jo Jones</a> on drums. Or the <a href="http://drumz4sale.blogspot.com/2012/06/1959-redux.html" TARGET="_59jazz">1959 albums that changed jazz</a>, which included Paul Chambers paired with Jimmy Cobb, Charles Mingus paired with Dannie Richmond, Eugene Wright paired with Joe Morello, and Charlie Haden paired with Billy Higgins.<p>Another way to form that important partnership is to see things from the bassist's perspective. This masterclass conducted by the great Ray Brown will reveal that perspective.<p><center><object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215759495113508"></param><embed src="http://www.facebook.com/v/215759495113508" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object> <object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215759581780166"></param><embed src="http://www.facebook.com/v/215759581780166" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object><br /><object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215759685113489"></param><embed src="http://www.facebook.com/v/215759685113489" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object> <object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215759781780146"></param><embed src="http://www.facebook.com/v/215759781780146" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object><br /><object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215759891780135"></param><embed src="http://www.facebook.com/v/215759891780135" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object> <object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215760021780122"></param><embed src="http://www.facebook.com/v/215760021780122" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object><br /><object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215760128446778"></param><embed src="http://www.facebook.com/v/215760128446778" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object> <object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215760205113437"></param><embed src="http://www.facebook.com/v/215760205113437" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object><br /><object><param name="allowfullscreen" value="true"></param><param name="movie" value="http://www.facebook.com/v/215760861780038"></param><embed src="http://www.facebook.com/v/215760861780038" type="application/x-shockwave-flash" allowfullscreen="1"></embed></object></center><p>I'll end with two clips. First is a clip from <a href="http://www.amazon.com/dp/B00005Y3ZM?tag=miketarraslifecy" TARGET="_AMZN">Diana Krall - Live in Paris</a> that illustrates the essence of this post. Check out the way Jeff Hamilton on drums is locked into John Clayton on bass, and how both of them beautifully support Diana and Anthony Wilson. The second clip is Ray Brown, Jeff Hamilton on drums and Gene Harris (of Three Sounds fame) on piano.<br /><center><a href="http://www.amazon.com/dp/B00005Y3ZM?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/krallparis.jpg"></a></center><p><center>Diana Krall Live in Paris<br /><br /><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/GvA6gxXoPno?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/GvA6gxXoPno?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><p>Ray Brown, Jeff Hamilton and Gene Harris<br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/tS9GOd5c_Jc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/tS9GOd5c_Jc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center>Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-39831185671502239842012-08-28T00:05:00.004-04:002013-01-21T10:03:28.352-05:00Piano: the other percussion instrument Part 2This follow-up to <a href="http://drumz4sale.blogspot.com/2012/08/piano-other-percussion-instrument.html" TARGET="_m4d">Part 1</a> allows me to provide some of my personal favorite clips. all are heavily slanted towards rhythm, although the melody and harmony are unmistakable.<p>I'll start off with one of the most percussive pianists (and vocalists) I've had the pleasure of studying. This clip is from <a href="http://www.amazon.com/dp/B002TUU5SG?tag=miketarraslifecy" TARGET="_AMZN">Jazz Voice Vol. 1: The Ladies Sing Jazz</a><br /><br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/6VDJzV0LpOc?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6VDJzV0LpOc?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br />I also recommend checking out <a href="http://www.amazon.com/dp/B0052Q2QG8?tag=miketarraslifecy" TARGET="_AMZN">Nina Simone: Her Greatest Hits</a>.<p>A true joy to watch and hear is Martha Davis. She was often billed with her husband as Martha Davis and Spouse. Her musicianship is sometimes overshadowed by her showmanship, but if you pay attention to these clips you will see just how sophisticated she was. Her husband, er, spouse was no slouch on bass either:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/mCxEHmYhyHg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/mCxEHmYhyHg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/K2yCcTlb6gs?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/K2yCcTlb6gs?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Talk about rhythmic and percussive. Camille Howard had a left hand that put most to shame. Here is a clip from <a href="http://www.amazon.com/dp/B000UBOUBY?tag=miketarraslifecy" TARGET="_AMZN">Rock Me Daddy, Vol. 1</a><br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/h_MvUiVevIY?hl=en_US&amp;version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/h_MvUiVevIY?hl=en_US&amp;version=3" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Another favorite is Terry Pollard whose talent overwhelms me. Check her out on the second set when she does a vibraphone duet with Terry Gibbs:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/T8z6fwq4ZSE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/T8z6fwq4ZSE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Lest I get accused of gender bias I'll add a few males to this post. First up is the great George Shearing:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/7BLYVoG8gkQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7BLYVoG8gkQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I'll end with a favorite, Red Garland:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/KCvRO57IU08?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/KCvRO57IU08?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br />If you like what you hear in that clip you should check out <a href="http://www.amazon.com/dp/B0051V6UNE?tag=miketarraslifecy" TARGET="_AMZN">The Ultimate Jazz Collection</a>, which is over four and a half hours of Red with Paul Chambers on bass and the great <a href="http://drumz4sale.blogspot.com/2012/06/art-taylor-in-action.html" TARGET="_ataylor">Art Taylor</a> on drums.<p>That's it for now. My next posts that will cover pianists will put the spotlight on Teddy Wilson, Thelonious Monk and Bud Powell. Not all at once - I promise. In the meantime, you may want to also check out some <a href="http://drumz4sale.blogspot.com/2012/05/some-fun.html" TARGET="_vibes">famous vibraphonists</a> too, because as a drummer studying piano music that path will eventually lead to vibes. It ain't the destination - it's the journey!<br /><br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-81853241251182993642012-08-27T03:44:00.000-04:002012-08-27T03:44:48.023-04:00Piano: the other percussion instrumentYes, this blog is about music for drummers. The operative word is <i>music</i>, and one of the grand instruments of music is the piano. So much so that in some music schools anyone entering a percussion program must prove their proficiency on a piano before getting accepted.<p>Before you go off on a rant about daft motherfuckers who talk about everything <i>but</i> drums in a blog ostensibly about drummers you may be interested in knowing that the likes of <a href="http://drumz4sale.blogspot.com/2012/08/a-lot-of-blakey-for-buck.html" TARGET="_artb">Art Blakey</a> was a pianist before he was a drummer, and a multitude of drummers, such as <a href="http://drumz4sale.blogspot.com/2010/01/rip-ed-thigpen-december-28-1930-january.html" TARGET="_edthig">Ed Thigpen</a> were and are outstanding pianists. The truth be known, one hundred years ago pianos were essential in many households and were the center of family and neighborhood entertainment before being nudged out by radio. Moreover, musicians such as Charles Mingus and Bix Beiderbecke - virtuosos on their own instruments - were sufficiently talented on piano to record records and albums as pianists. A side note of interest is Dizzy Gillespie, another virtuoso pianist as well as trumpter, was also very proficient as a drummer. So proficient in fact that he gave Art Blakey drum lessons that dramatically improved Blakey's playing and transition from pianist to drummer.<p>The bottom line is even if you never become proficient as a pianist (or even touch one), studying some of the greats is an effective way to improve your skills as a drummer. One only need listen to many of the pianists in <a href="http://www.amazon.com/dp/B000ICM71K?tag=miketarraslifecy" TARGET="_AMZN">Jazz Piano History</a> to appreciate the complex rhythms the greats managed while still paying attention to melody and harmony. We drummers have it easy in comparison.<br /><center><a href="http://www.amazon.com/dp/B000ICM71K?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jazzpianohistory.jpg"></a></center><p>On the other hand, as musicians we need to understand not only rhythm, which is a given, but also melody and harmony. <p><b>I am not implying that you must learn music theory because many solid drummers have managed to become successful without the theoretical training. I am saying that you, as a musician, should be aware of what is happening musically when you are supporting the music and your fellow musicians. Hence the following, simplified introduction to some of the things of which you should be aware.</b><p>Melody, in the most simplistic terms, is rhythm plus pitch. We drummers can actually contribute to the melody since we play rhythms and our instrument has various pitches. Pitches within a certain range are notes. Consider Drum Workshop drums, which have the musical pitch written on the inside of each shell; i.e., C#.<p>Those pitches are limited and somewhat fixed for each instrument, depending on your touch. Despite some inherent limitations, they will allow us to integrate with the other musicians and take some responsibility for the melody. This is partially addressed in <a href="http://snaredrumz.blogspot.com/2012/06/more-quick-tips-fills-dynamics-and.html" TARGE="_sda">this post</a>. Studying drummers is not as effective as studying pianists if you want to bring your musicianship to the next level.<p>Harmony, in simplistic terms, is the relationship between and among simultaneous notes. Watch a guitarist or pianist hold down strings (or keys) in a pattern to form chords. There are musical rules that govern how chords are interrelated. Those rules also govern how they progress to the next chord, and how that chord fits into a musical structure. For our purposes, think of chords as either consonant or dissonant. A consonant chord <i>fits</i> into the structure (for lack of a better way of describing it) while a dissonant chord does not seem to fit.<p>Placed in the context of drumming, a pattern on a tom tuned to a certain pitch that complements a chordal structure played by a pianist or guitarist would be consonant. An unexpected cymbal crash placed at the same point would be dissonant. It may or may not be inappropriate, depending on why it was used. It it was used to mark a transition to another phrase it would support the music.<p>Do you need to know all of this to be a good drummer? Not necessarily, but you need to be <i>aware</i> of it if you want to be a part of the music instead of just playing time - something a backing track or rhythm box can do. Back to my original contention: studying piano or critically listening to pianists <i>will</i> significantly improve your skills as a drummer, and more importantly, will aid in your becoming a musician who plays drums (there is a distinction.)<p>As I said, the piano is a fundamental musical instrument, and is part of the foundation of ragtime, which was a key ingredient of jazz and the music it spawned, including rock. In fact, the first four tracks on the first disc in <a href="http://www.amazon.com/dp/B000ICM71K?tag=miketarraslifecy" TARGET="_AMZN">Jazz Piano History</a> are Scott Joplin piano rolls from 1899. The media is grouped into five sets of four discs, each focused on milestones in the evolution and maturation of jazz, the role piano played, and the masters of each era or milestone.<p>Here is what the set contains:<p>Disc 1 is devoted to ragtime, with examples ranging from the Scott Joplin piano rolls to Jelly Roll Morton, Eubie Blake, James P. Johnson, with other pianists both obscure and a few cited as unknown. There are some good examples of syncopation in this group, and the early work of Eubie Blake and James P. Johnson is sophisticated in rhythm, melody and harmony. In other words, well worth studying despite the fact that it is nearly a century old. Here is an example from this disc:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/R7oQfRGUOnU?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/R7oQfRGUOnU?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 2 is Harlem Stride, with the inventors well represented: James P. Johnson, Willie "The Lion" Smith, and Fats Waller, as well as those who were heavily influenced by them like Duke Ellington, and even Fletcher Henderson and Clarence Williams pieces. Notice how much more sophisticated, rhythmically and harmonically this is compared to ragtime. An example:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/nSFGyipsNsg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nSFGyipsNsg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center>Here is one more example with an explanation of what James P. Johnson is doing:<br><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/mRTHHkeQ8sE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/mRTHHkeQ8sE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 3 through 5 focus on blues and boogie woogie with some of the giants: Cow Cow Davenport, Meade Lux Lewis, Jimmy Yancey, Pete Johnson, Albert Ammons and others. Here are two excellent examples:<br><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/iabfLNKjNQY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/iabfLNKjNQY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/c9X6xMkc6s8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/c9X6xMkc6s8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Discs 6 and 7 are interesting because they are divided both by race and city. 6 is Chicago Black and 7 is Chicago & New York White. Earl Hines and Jelly Roll Morton dominate disc 6, with additional tracks by Jimmy Blythe, Clarence Jones and Alex Hill. Disc 7 is more diverse with a lot of tracks by Joe Sullivan and Jess Stacey, but also Bud freeman, Art Hodes and others. One treat is by Bix Beiderbecke, mainly known for his cornet contributions to jazz, but a great pianist in his own right. His "In a Mist" is included and is well worth studying and is provided in this clip:<br><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/J2_Ai8dgBko?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/J2_Ai8dgBko?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><br>And an example of Earl Hines around the same time he recorded <a href="http://www.amazon.com/dp/B00001ZWLP?tag=miketarraslifecy" TARGET="_AMZN">Hot Fives and Hot Sevens</a> with Louis Armstrong:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/iEwAf8246rg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/iEwAf8246rg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>In fact, let's drill down into a song from the <a href="http://www.amazon.com/dp/B00001ZWLP?tag=miketarraslifecy" TARGET="_AMZN">Hot Fives and Hot Sevens</a>. This song represents a major turning point in jazz, and the video explains what is happening, including what Hines is doing:<br><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/QbD8loUP9CY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/QbD8loUP9CY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Discs 8 through 10 are devoted to swing, and is dominated by Teddy Wilson (an extremely important figure in Swing and other jazz sub genres), Earl Hines, Art Tatum and a plethora of other well- and lesser-known names. Here are some excellent examples:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/aFHA4Gs5Bwk?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/aFHA4Gs5Bwk?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/R5NqUoM-WZo?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/R5NqUoM-WZo?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/fKb0Sc2lYVU?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/fKb0Sc2lYVU?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/GLYT3cPA5T8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/GLYT3cPA5T8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 11, Kansas City, has the usual suspects: Basie, Jay McShann, Mary Lou Williams (who was Monk's and Bud Powell's mentors among others), and Pete Johnson.<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/F3NBLwdQd6U?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/F3NBLwdQd6U?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/1uTwGyw4l2g?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1uTwGyw4l2g?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/oA6OxVCb2TQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/oA6OxVCb2TQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 12 was something of a letdown. It is focused on bebop and rightfully includes a good number of Bud Powell tracks, but only a few for Monk. Al Haig, John Lewis and Dodo Marmarosa are represented along with a few others. However, I cannot resist the temptation of using some of Bud Powell's and Monk's later work as an examples. In the near future I will be doing a post exclusively about each that will dip back into earlier earlier work. Please pay close attention to what the drummers are doing in each of these clips. It's very obvious that they are aware of melody and harmony (and dynamics):<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/nAPiy-u7JYQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nAPiy-u7JYQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/RkHNkxzZp4k?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/RkHNkxzZp4k?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 13 is titled Modern Jazz, with Lennie Tristano and John Lewis getting most of the tracks. For an example of Tristano see <a href="http://drumz4sale.blogspot.com/2012/08/bird-lenny-study-in-great-music-and.html" TARGET="_m4d">Bird & Lennie: a study in great music and great drummers</a>, which includes video clips. Here is a clip of John Lewis with one of my favorite groups, The Modern Jazz Quartet. Connie Kay, the drummer, is one of my influences:<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/fFZiZ_1KMCw?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/fFZiZ_1KMCw?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 14 is Cool with Dave Brumeck, Hampton Hawes and Russ Freeman providing most of the examples.<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/2aHGMDf42lw?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/2aHGMDf42lw?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/IIPeJVLL8VI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/IIPeJVLL8VI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Disc 15, West Coast, is misnamed. For example it has more than a few Monk tracks, which are strictly New York pieces, and I never associated Horace Silver or Richie Powell - two predominately East Coast musicians - with West Coast jazz either. Still, the tracks are wonderful so I shouldn't be quibbling about how they are labeled. A little Horace Silver is in order for an example. Also the late Richie Powell who perished in the car crash with Clifford Brown. Richie was Bud's brother.<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/t8jFGFwOm7k?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/t8jFGFwOm7k?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/v4KTFtytyR4?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/v4KTFtytyR4?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The remaining four discs contain some of the giants of jazz piano and are my favorite discs from the set. Among those amply represented are Erroll Garner, Oscar Peterson, George Shearing, Hank Jones, Kenny Drew, Bobby Timmons, Cedar Walton, Gene Harris, Bill Evans, Ahmad Jamal, McCoy Tyner and Chick Corea. Among this august group are other, less mainstream - but excellent - examples too.<br><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/UYS1QMorSxg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/UYS1QMorSxg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/NTJhHn-TuDY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/NTJhHn-TuDY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/_Qc3VaXtW5M?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/_Qc3VaXtW5M?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/KRNzyxFyUvg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/KRNzyxFyUvg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>If this set is too comprehensive for your needs or tastes, you may want to check out <a href="http://www.amazon.com/dp/B000AAP7HQ?tag=miketarraslifecy" TARGET="_AMZN">Jazz Piano Masters</a> instead.<br><center><a href="http://www.amazon.com/dp/B000AAP7HQ?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/jazzpianomasters.jpg"></a></center><br>It is more focused on a later period and strictly jazz, cutting out any examples of ragtime and stride. See <a href="http://www.amazon.com/review/R3JSAOJKWZJNZW/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B000AAP7HQ&linkCode=&nodeID=&tag=miketarraslifecy" TARGET="_AMZN">my review</a> to determine if that set is right for you.<p>This post covered a lot of ground on one hand, and has barely scratched the surface on the other. Know that you <b>do not</b> have to learn music theory, including digging into melody and harmony to learn from listening to pianists. If you have a rudimentary grasp of the concepts, then awareness of what the musicians you are supporting are doing will follow. If you achieve awareness then you will be a better drummer. <br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-79398265861346009712012-08-27T00:07:00.002-04:002012-08-27T01:26:50.476-04:00Roy Eldridge: Little Jazz Trumpet Giant My last post about <a href="http://drumz4sale.blogspot.com/2012/08/anita-oday-in-depth-part-3.html" TARGET="_m4d">Anita O'Day</a> inspired me to play through my <a href="http://www.amazon.com/dp/B0001ZXOLG?tag=miketarraslifecy" TARGET="_AMZN">Little Jazz Trumpet Giant</a> box set.<br /><center><a href="http://www.amazon.com/dp/B0001ZXOLG?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/ljazzgiant.jpg"></a></center><br />For one thing, Roy was an ubiquitous present on some of the iconic jazz recordings and performances, including <a href="http://drumz4sale.blogspot.com/2010/03/lester-young-billie-holiday-krishna-and.html" TARGET="_billie">Billie Holiday's</a> early recordings led my Teddy Wilson, Anita O'Day's best known performances with Gene Krupa, and the birth of bebop at Minton's Playhouse. Although I am not going to drift into more about Anita, he performed with her at her 50th Anniversary in show business performance, <a href="http://www.amazon.com/dp/B0034PWIR6?tag=miketarraslifecy" TARGET="_AMZN">Big Band At Carnegie Hall</a>, reprising Let Me Off Uptown. That duet between Anita and Roy echoed the culturally groundbreaking performance they did with Krupa's band over forty years prior. Roy could no longer play his trumpet (for medical reasons), but his singing was strong, and he and Anita pulled it off perfectly.<p>Why is this set significant? Strictly speaking as a drummer, the musician styles covered and the various drummers included on the tracks will provide a lot of musical ideas. This is especially true if you are caught in a rut playing the same cliche licks (and we all succumb to that). It's also interesting to note that Roy started out on drums and played that instrument professionally until his brother convinced him to give trumpet a try.<p>As a musician, though, this is a wonderful collection of music and how it evolved during the period represented. And if you play trumpet, then knowing that Roy was influenced by saxophonists and not other trumpeters should expand your musical horizons.<p>Although he was active from the mid 1920s to the 1980s, this set captures some of his best years, spanning 1935 through 1953.<p>Up front the key questions you may have are: (1) how is the sound quality? (2) is this a typical hodge-podge of tracks thrown together to take advantage of expiring copyrights per European laws?<p>The answer to the first question is the sound quality is excellent. Even the early tracks circa 1935 are clear and probably better than the originals due to remastering. There are no popping noises associated with raw transfers from old shellac albums to CD. I am sure die hard purists and audiophiles will find some cause to complain, but I am more than pleased.<p>On the second question: this is a well thought out set, with each CD having a theme. Disc 1 is Swing is Here, Disc 2 is The Gasser, Disc 3 is King David in Paris and Stockholm Too and the final disc is Dale's Wail. What truly sets this collection apart, aside from the attention to logical grouping, is the 47-page booklet that is included. It is well written with a lot of Roy's history and the context of the tracks on each disc. But the real value is the comprehensive discography that lists each track on each disc, provides personnel and dates, and even label catalog information for each and every track. That is not the stuff of hastily thrown together compilations by fly-by-night labels.<p>The period covers his most important work (in my opinion), as well as his evolution as a musician that paralleled jazz itself. He was one of the few oldtimers (he was born in 1911) to make a successful transition from swing to bebop. He was a regular at the birthplace of bebop - Minton's Playhouse - and contributed musical ideas to that genre. More importantly, he was the idol and inspiration of Dizzy who was one of the architects of the new style. However, Roy continued to remain relevant as a jazz musician into the early 1970s. So this set of CDs show from where he came and to where he was ultimately headed.<p>Here are some selected clips that represent the music contained on the included discs:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/zctXjgd_LeQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/zctXjgd_LeQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/Lor80WUVbtw?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Lor80WUVbtw?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/blz5AQK2lVA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/blz5AQK2lVA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>And one not on the album that you may enjoy:<center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/4le_Mpm9Fik?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4le_Mpm9Fik?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center>Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0tag:blogger.com,1999:blog-6039237124600133753.post-30615097536552380112012-08-26T16:47:00.002-04:002012-08-27T14:06:18.860-04:00Anita O'Day in depth Part 4 In my last post, <a href="http://drumz4sale.blogspot.com/2012/08/anita-oday-in-depth-part-2.html" TARGET="_m4d">Anita O'Day in depth Part 3</a>, I covered eight albums from her Verve Years. This post will touch upon her earlier years as a big band singer. For background see <a href="http://drumz4sale.blogspot.com/2012/07/anita-oday-in-depth-part-1.html" TARGET="_m4d1">Part 1</a>, which is an extensive review of her biography, and <a href="http://drumz4sale.blogspot.com/2010/04/anita-oday-jezebel-of-jazz-drummers.html" TARGET="_m4d3">Anita O'Day: Jezebel of Jazz & Drummer's Vocalist</a>.<p>While there are a number of albums that showcase Anita's big band years, the most economical I have found is a four disc set titled <a href="http://www.amazon.com/dp/B00005BCFR?tag=miketarraslifecy" TARGET="_AMZN">Young Anita</a>.<p><center><a href="http://www.amazon.com/dp/B00005BCFR?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/younganita.jpg"></a></center><p>For fans who mainly know Anita's work from her Verve and later years this is a wonderful glimpse into her early work. While she evolved into a hip, scatting vocalist who could keep up with the later bebop musicians, these tracks show why she was also an unquestionable talent during her early years.<p>Many of these tracks are also on <a href="http://www.amazon.com/dp/B00000JBDX?tag=miketarraslifecy" TARGET="_AMZN">Let Me Off Uptown: The Best of Anita O'Day with Gene Krupa</a> and another compilation titled <a href="http://www.amazon.com/dp/B00004T2IT?tag=miketarraslifecy" TARGET="_AMZN">First Lady of Swing</a>. The latter documents her time with Stan Kenton's band. This compilation - <a href="http://www.amazon.com/dp/B00005BCFR?tag=miketarraslifecy" TARGET="_AMZN">Young Anita</a> - contains the pearls from both in my opinion. It does so in 89 tracks that are representative of not only Anita's early body of work, but of the era.<p>I personally love the selection of songs in this compilation. Every track is relatively well mastered (in other words, an audiophile may object, but considering the sources for mastering the sound quality is reasonable and listenable.) I cannot think of a single track that would showcase Anita's talents that was left out of this set. That speaks highly of whoever produced this compilation.<p>Of course this iconic track is included. I am posting the video version instead of the album one because they are nearly identical and it's always a treat to see a young Anita in action. This was considered controversial when it was released because of the rampant racism and segregation laws back then, but also there was some tension between Anita and Roy Eldridge who frequently complained that Anita was upstaging him.<p><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/eoSAPaThWJE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/eoSAPaThWJE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Here is track 6 from disc 2:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/p3wTQgHqZkg?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/p3wTQgHqZkg?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>A 1944 performance from her stint with Stan Kenton:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/By1BOYy61WU?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/By1BOYy61WU?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>Another from her stint with Kenton (1944). She sounds a lot like Ella Mae Morse on this track.<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/4AKNYKujyKI?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4AKNYKujyKI?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I mentioned the similarity to Ella Mae Morse regarding the above track. Morse's career took a different turn with a progression from jump blues to early rock to rockabilly. Anita could have taken that path. Indeed, during the post swing era she and her contemporaries (and record labels) were desperately searching for the next big thing. Although the albums in <a href="http://www.amazon.com/dp/B001GLHS48?tag=miketarraslifecy" TARGET="_AMZN">this set</a> are not from the big band era (and some are also included in the set discussed in <a href="http://drumz4sale.blogspot.com/2012/08/anita-oday-in-depth-part-2.html" TARGET="_m4d">Anita O'Day in depth Part 2</a>), the bridge between her big band years and Verve years is contained in a two albums in the set.<br /><center><a href="http://www.amazon.com/dp/B001GLHS48?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/4classicao.jpg"></a></center><p>The first album is <a href="http://www.amazon.com/dp/B000V696WG?tag=miketarraslifecy" TARGET="_AMZN">The Lady is a Tramp</a><br /><center><a href="http://www.amazon.com/dp/B000V696WG?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/ladytramp.jpg"></a></center><br />This album has had a twisting and turning genesis. The first eight tracks were recorded in 1952 and released under the title <a href="http://www.amazon.com/dp/B000V698YW?tag=miketarraslifecy" TARGET="_AMZN">Anita O'Day Collates</a> by Norgran Records in 1953. I actually wrote a <a href="www.amazon.com/review/R2SCNNYMBD169K/ref=cm_cr_pr_perm?ie=UTF8&ASIN=B000V698YW&linkCode=&nodeID=&tag=miketarraslifecy" TARGET="_AMZN">comprehensive review</a> of that album, which includes personnel and dates, and another perspective than what I am providing here for those who are interested in such things.<p>Norgran was Norman Granz' original label. Norgran then reissued the album in 1955 under the title <i>Anita O'Day Sings Jazz</i>. It was finally released in 1957 under the present title by Verve (which Granz established in 1956 and absorbed the Norgran catalog.) In addition to the original eight tracks, the final release contained four more.<p>The song selection is all over the place. By 1957 this selection was a bit odd, but when the original eight tracks were recorded in 1952 music was undergoing an upheaval. Jazz was being nudged out by popular music, some of which would become rock and roll, while other threads of that era would become rockabilly and other genres. The lack of homogeneity was because of the racial divisions in mainstream America at the time. It may sound ludicrous today, but the airwaves were culturally segregated. The point being that the inclusion of a track such as Rock 'N' Roll Blues was probably an attempt to grab onto what may have been seen as a trend, and to reach a wider audience by a new label (Norgran.) Ella Mae Morse whose big band roots were similar to Anita's was making inroads into the new trends, so that may have also been a factor. Other songs from the original eight recordings were standards and make sense.<p>The four additional tracks contained popular music such as Vaya Con Dios, and was probably included to increase the marketing range of yet another brand new label, Verve.<p>Regardless of the strange (but explainable) mix of songs and the twists and turns that started in 1952 and culminated in this album in 1957, O'Day is a constant factor. She makes each song her own. Listen to the song samples. If you are a fan, her imprint is unmistakable. And the mixed bag of songs, as incongruous as they are on one album, clearly shows her versatility. Moreover, this album - the first eight tracks anyway - capture her reinventing herself from big band vocalist to small ensemble diva. It also foreshadows her many reinventions that would take place over the next half century.<p>For those who are interested in who played what, here is the personnel list:<br />Tracks 1-4: Roy Eldridge on trumpet, Albert Johnson on tenor sax, Cecil Payne on baritone sax, Bill Harris on trombone, Ralph Burns on piano, Al McKibbon on Bass and Don Lamond on drums.<br />Tracks 6, 11 and 12: Roy Kral on piano, Earl Backus on guitar, John Frigo on bass, Bob Lionberg on drums and Jim Wilson on percussion.<br />Tracks 7 through 10: studio orchestra (arrangements by Larry Russell who also conducted).<p>To satiate any curiosity, here is Rock 'N Roll Blues from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/ZxRBeOl0YQY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ZxRBeOl0YQY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>The other transitional album in the set is <a href="http://www.amazon.com/dp/B000WLLUOW?tag=miketarraslifecy" TARGET="_AMZN">An Evening With Anita O'Day</a> in which Anita engineers the first of her many reinventions and distances herself from the incoherent <a href="http://www.amazon.com/dp/B000V696WG?tag=miketarraslifecy" TARGET="_AMZN">The Lady is a Tramp</a>.<br /><center><a href="http://www.amazon.com/dp/B000WLLUOW?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/eveningwithanita.jpg"></a></center><p>This album is not only coherent, but sets the tone for Anita's evolution from big band singer to small ensemble vocalist. Here she becomes the proven talent who not only shows she can adapt, but who would reinvent herself more than a few times in the ensuring half century. In my opinion, her first reinvention was during the sessions that resulted in this album.<p>Why this album is coherent is the song selection. There is an obligatory Cole Porter tune, plus standards like I Cover the Waterfront, The Man I Love and one song that Anita would make her own with numerous performances the rest of her life: Let's Fall In Love. Moreover, there is the traditional Frankie and Johnny, along with her own Anita's Blues. This stuff is beautifully suited to her vocal style and phrasing, unlike the proto rock of the 1952 album that featured honking sax on nearly every track. The contrast alone makes this album worth it.<p>Then there are the backing ensenbles. Although Anita would continue performing in the studio and even live with full orchestra backing, she seemed to be at her best with smaller groups, and this album marks her complete break from the big band era where she made her name with Gene Krupa, Woody Herman and Stan Kenton.<p>Personally, I love her the most backed by a piano trio, like in the second session on June 28, 1954 (see below). However, all three ensembles backing her on this album are perfect for the era and her style. Listen to the sound samples on this page to see what I mean.<p>I am including the list of personnel and dates of the sessions for those who are interested.<p>Session 1 April 15, 1954 (Anita had released from jail almost two months prior to this). Personnel: Arnold Ross on piano, Barney Kessel on guitar, Monty Budwig on bass and Jackie Mills on drums. The tracks cut during this session are:<br />The Gypsy In My Soul<br />Just One Of Those Things<br />The Man I Love<br />Frankie And Johnny<p>Session 2 June 28, 1954 - This is a perfect backing for Anita - a piano trio comprised of Bud Lavine on piano, Monty Budwig on bass and John Poole on drums. Note: this is the first appearance of John Poole with Anita. He would remain with her for over four decades. I do not know if this was a chance pairing and they reconnected later because she mentioned in <a href="http://www.amazon.com/dp/B001W3P50O?tag=miketarraslifecy" TARGET="_AMZN">Anita O'Day - The Life Of A Jazz Singer </a> that she first met him at a girlie show in Long Beach (right outside of LA.) The tracks are:<br />Anita's Blues<br />I Cover The Waterfront<br />I Didn't Know What Time It Was<br />Let's Fall In Love<p>Session 3 was over a year later on August 11, 1955. Personnel:<br />Jimmy Rowles on piano, Tal Farlow on guitar, Leroy Vinnegar on bass and Larry Bunker on drums. Tracks cut during this session:<br />You're Getting To Be A Habit With Me<br />From This Moment On<br />You Don't Know What Love Is<br />Medley<p>Here is a track from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/rIsUmf2ad3A?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/rIsUmf2ad3A?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>I'll wrap this up for the time being. I have a lot of material to add to the Anita O'Day story and body of work, but will cover other topics before I take this up again with part 4. Until then, keep swinging and enjoy the music.<br /><br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com1tag:blogger.com,1999:blog-6039237124600133753.post-25409059815812801532012-08-26T00:01:00.006-04:002012-08-27T14:05:15.455-04:00Anita O'Day in depth Part 3This is a continuation of <a href="http://drumz4sale.blogspot.com/2012/07/anita-oday-in-depth-part-1.html" TARGET="_ao1">Anita O'Day in depth Part 1</a>, which I posted way back on July 16, 2012 and <a href="http://drumz4sale.blogspot.com/2012/07/anita-oday-in-depth-part-2.html" TARGET="_ao2">Anita O'Day in depth Part 2</a> from July 18, 2012. I had reviewed over twenty of Anita's albums and did not want to deluge this blog with a flurry of posts, so I got side tracked.<p>I am a dyed-in-the-wool Anita O'Day fan as evidenced by my April 5. 2010 post titled <a href="http://drumz4sale.blogspot.com/2010/04/anita-oday-jezebel-of-jazz-drummers.html" TARGET="_ao3">Anita O'Day: Jezebel of Jazz & Drummer's Vocalist</a>. Following her career you will note that there are phases: the big band years, the early 50s, the Verve years and the independent years. The latter cover a lot of territory, but this post is going to focus on her Verve years, and, specifically, on eight albums she recorded for that label. That is half of her output for <a href="http://drumz4sale.blogspot.com/2010/03/norman-granz-angel-in-disguise.html" TARGET="_m4d">Norman Granz</a>.<p>Conveniently, those albums have been bundled into a bargain-priced set titled <a href="http://www.amazon.com/dp/B005I4UMCO?tag=miketarraslifecy" TARGET="_AMZN">Anita O'Day 8 Classic Albums</a>:<p><center><a href="http://www.amazon.com/dp/B005I4UMCO?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/anita8.jpg"></a></center><p>Albums contain the original track listing and sequence. I mention this because many modern reissues contain bonus tracks. This one does not. A case in point: Anita Sings The Winners in this set contains the twelve original tracks. There are at least two reissues of that album, one of which contains seven bonus tracks (bringing the total to 19), and another which contains eleven bonus tracks (bringing the total to 23).<p>With respect to bonus tracks or the lack thereof this set contains 101 tracks across four discs, and provides over four hours of Anita. That alone makes purchasing this a no-brainer.<p>Here is what you get:<p><a href="http://www.amazon.com/dp/B00000470I?tag=miketarraslifecy" TARGET="_AMZN">This Is Anita</a> (1955 12 tracks):<br /><center><a href="http://www.amazon.com/dp/B00000470I?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/thisisanita.jpg"></a></center><br />Norman Granz' then brand new label, Verve, would go on to earn accolades in the jazz recording world. This 1955 album inaugurated it.<p>Unlike many of Anita's reissued albums this one has the original tracklist without bonus tracks, so it's short by today's standards, but about par for an LP in 1955.<p>In addition to being Verve's inaugural album, this was Anita's first non-big band recording too. While she is backed by a large ensemble that was arranged and conducted by Buddy Bregman, the group swung like crazy, giving Anita instrumental backing that was a perfect match for her singing style.<p>A track from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/FLiY3d3RE1c?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/FLiY3d3RE1c?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B007PDQN10?tag=miketarraslifecy" TARGET="_AMZN">Pick Yourself Up</a> (1956 12 tracks):<br /><center><a href="http://www.amazon.com/dp/B007PDQN10?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/pickyourselfup.jpg"></a></center><br />Why an album cover showing a 1958 photo on a 1956 album? I have no idea. What I love is the song selection, which includes swing standards like Benny Goodman's Don't Be That Way and Chick Webb's Stomping at the Savoy. In fact, every one of the original tracks on this album is a gem, as are the bonus tracks. Give the track samples a listen and I am betting that the majority - if not all - of them will bring a smile.<p>Another thing I love about this album is the line-up backing Anita. Buddy Bregman's band, plus Harry 'Sweets' Edison on trumpet, Paul Smith on piano, Joe Mondragon on bass, the very underrated, but much in demand during this period drummer, Alvin Stoller is a treat for me since I am a drummer. Also, Larry Bunker is on vibraphone and Barney Kessel - a charter member of the Oscar Peterson Trio - is on guitar.<p>From the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/2iAekasDPDE?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/2iAekasDPDE?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B000WLQL8W?tag=miketarraslifecy" TARGET="_AMZN">Anita Sings the Most</a> (1957 11 tracks):<br /><center><a href="http://www.amazon.com/dp/B000WLQL8W?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/singsthemost.jpg"></a></center><br />The reasons I think this 1957 gem is one of her best in this set are her backing ensemble, choice of songs and the session's white hot energy.<p>Backing Ensemble: Many of Anita's mid-50s albums for Verve, starting with her (and the label's) inaugural <i>Anita</i> released in 1955, were backed by larger ensembles. Orchestras, actually. This one featured the original Oscar Peterson line-up (Oscar on piano, Ray Brown on bass and Herb Ellis on guitar), plus Anita's favorite drummer and decades-long companion and partner-in-crime, John Poole. Milt Holland, an extraordinary multi-instrumentalist, added percussion on some tracks.<p>Choice of Songs: From the first medley, S'Wonderful/They Can't Take That Away From Me, Anita proves that she can sing at blazing fast tempos, then downshift into a slower tempo seamlessly and smoothly. Oscar's own penchant for fast tempos that would bedevil most drummers and bassists for decades, was unable to shake her. Even on Them There Eyes - performed at a tempo that would have left any other vocalist in the dust - Anita is right there with Oscar every note. Her tempo range is incredible, as evidenced by her beautiful rendition of Bewitched (one of my all time favorite songs and one by which I judge a vocalist's ability to sing a ballad.)<p>Highlights of this amazing session include John Poole's great drumming. Poole is one of my personal inspirations and one of the top brush players of his era. It's ironic that Peterson would shortly replace Ellis with a drummer - <a href="http://drumz4sale.blogspot.com/2010/01/rip-ed-thigpen-december-28-1930-january.html" TARGET="_m4d">Ed Thigpen</a> - who was another top brush player of the era. And, of course, Peterson himself. He breaks into stride-piano influenced phrases on some tracks, and on the entire album is perfectly matched to Anita's own musical abilities. Here is a clip from the album:<br /><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/IsFTIqbQk-I?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/IsFTIqbQk-I?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B0048ZJ6JO?tag=miketarraslifecy" TARGET="_AMZN">Anita Sings the Winners</a> (1958 12 tracks):<br /><center><a href="http://www.amazon.com/dp/B0048ZJ6JO?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/singsthewinners.jpg"></a></center><br />When I am asked why I am so fanatical about Anita, I play this album for the inquirer and that pretty much answers their question.<p>My earlier piece about Anita, <i><a href="http://drumz4sale.blogspot.com/2010/04/anita-oday-jezebel-of-jazz-drummers.html" TARGET="_m4d">Jezebel of Jazz & Drummer's Vocalist</a></i> explains my attraction. Her vocal stylization (her words) allowed her to sing at the fastest tempos (Four Brothers is a good example), and her phrasing on some of the songs here, like Interlude, set her apart. And the reason I call her a drummer's vocalist is because she actually took drum lessons from her first husband, Don Carter. She also has a long association with John Poole who was her drummer for decades (and is also on this album).<p>Every song on this 1958 album is a winner in my opinion - there is not a song nor a performance on the entire track list that I do not love, which is why I listen to it so often. In addition, tracks 13-19 are actually bonus tracks that did not appear on the original album, making this even more valuable. Here is a clip from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/g9gD2EOQBpQ?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/g9gD2EOQBpQ?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B000WLQKHO?tag=miketarraslifecy" TARGET="_AMZN">Anita Swings Cole Porter</a> (1959 18 tracks):<br /><center><a href="http://www.amazon.com/dp/B000WLQKHO?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/swingscoleporter.jpg"></a></center><br />Much has been written about how great a year <a href="http://drumz4sale.blogspot.com/2012/06/1959-year-that-changed-jazz.html" TARGET="_1959">1959 was for jazz</a>. Most of the buzz is about the Big Four: Kind of Blue, Time Out, Ah Um and The Shape of Jazz to Come. I love all of those albums, and for me personally, this one is the fifth treasure from that <a href="http://drumz4sale.blogspot.com/2012/06/1959-redux.html" TARGET="_1959b">watershed year</a>.<p>First, I think that Billy May's arrangements on the first twelve tracks stand out from the remaining six that were added in from other O'Day performances of Porter's material between 1952 and 1960.) But that is a subjective call.<p>Second, this album seems to be destined to forever be overshadowed by <a href="http://www.amazon.com/dp/B000WTZC7U?tag=miketarraslifecy" TARGET="_AMZN">Ella's Cole Porter songbook album</a>. Side-by-side I will take this one. But please bear in mind my biases towards Anita. Instead of comparing and contrasting the two vocalists and albums I will say that my reasons for loving this one is the energy and attitude that Anita brings to her renditions.<p>Anita's ability to swing is infectious, and I have always loved Anita's phrasing and ability to settle comfortably into any tempo. More importantly, Porter's compositions are notoriously difficult for most vocalists, yet Anita goes through a repertoire of some of Porter's best works effortlessly. A sample from the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/vhzisarQUXY?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/vhzisarQUXY?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B001NY9XJ6?tag=miketarraslifecy" TARGET="_AMZN">Anita SwingsRogers and Hart</a> (1960 12 tracks):<br /><center><a href="http://www.amazon.com/dp/B001NY9XJ6?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/swingsrogershart.jpg"></a></center><p>I have some minor mixed feelings about this album. There are a few reasons for this. First, even by 1960 LP standards, this album is short. Second, the first two tracks are not 'grabbers'. They are certainly excellent renditions of Johnny One Note and Little Girl Blue, but the compositions do not allow Anita to cut loose in her characteristic, swinging style.<p>What won me over were the arrangements on the rest of the tracks and the choice of songs. Both aspects showcase Anita's abilities as a vocalist and musician, as well as the genius of Rogers and Hart.<p>Another reason I love this album is Anita's rendition of one of my favorite songs: Bewitched, Bothered and Bewildered. I measure a vocalist's ability to sing a ballad by who well they handle that song. I give her an A+ on that track, and extra credit because the track is 4:22 long. Would be that the rest of the tracks were as extended. Two of my other favorite tracks on the album are I Could Write a Book and It Never Entered My Mind. Those choices reflect my personal taste and are subjective. Here is a clip:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/dkyrmd92u5E?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dkyrmd92u5E?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B000WLJEZE?tag=miketarraslifecy" TARGET="_AMZN">Waiter, Make Mine Blues</a> (1960 12 tracks):<br /><center><a href="http://www.amazon.com/dp/B000WLJEZE?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/witermakemine.jpg"></a></center><br />This 1961 album was recorded during three 1960 recording sessions, two of which included a fairly large backing ensemble. The other session had a much smaller group backing Anita, yet the entire album sounds cohesive. In fact, despite the larger ensemble that is on two thirds of the album's tracks, the overall feel is intimate and light. That is a tribute to both Anita's skills as a vocalist, as well as the producer and the arrangers.<p>Session number one was recorded in August 1960, and resulted in tracks 1, 5, 6 and 9. The backing ensemble was comprised of Geoff Clarkson on piano, Al Hendrickson on guitar, Al McKibbon on bass and the great Mel Lewis on drums. Horns are four trombonists (Harry Betts, Frank Rosolino, Ken Shroyer and Dickie Wells), and Bud Shank on alto saxophone and flute. The horn section is particularly interesting in that the low end is well anchored with the four trombones, with the upper registers handled by either an alto or flute. No trumpets! Yet it works.<p>The remaining two sessions were spread across two days in October 1960 and used a much larger orchestra that included strings. Also, Bud Shank from the August session, as well as Barney Kessell on guitar are members of the larger ensemble.<p>Listing favorite tracks is always problematic because they reflect personal preferences and are subjective. However, I will cite a few tracks that stand out for me: That Old Feeling starts out with Anita backed by Al McKibbon on bass in the front of the mix and it sounds both intimate and sensual. When Bud Shank comes in on flute, the song never fails to transport me to another place and time. Yesterdays is big sounding with a full low end from the four trombones. Mel Lewis lays down an interesting pattern with his snare drum (with snares off) and toms, then breaks into a lighter, swinging phrases that soar when Bud Shank's alto comes in. I also enjoyed Whatever Happened To You that sounds lush with the strings, and also has a nice airy feel from flute. From the album:<br /><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/R8i45S0cVm8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/R8i45S0cVm8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p><a href="http://www.amazon.com/dp/B000V63B8G?tag=miketarraslifecy" TARGET="_AMZN">Travlin' Light</a> (1961 12 tracks):<br /><center><a href="http://www.amazon.com/dp/B000V63B8G?tag=miketarraslifecy" TARGET="_AMZN"><img src="http://www.volusiagig.com/music/travlinlite.jpg"></a></center><br />The reason this 1961 album is among my favorites by Anita (or any other vocalist for that matter) is it's her tribute to Lady Day - <a href="http://drumz4sale.blogspot.com/2010/03/lester-young-billie-holiday-krishna-and.html" TARGET="_m4d2">Billie Holiday</a> - arguably the greatest jazz singer ever.<p>One of the things I love most is the way Anita does not try to mimic Billie. She did every song on this album credit and I am positive Billie would have approved, but she brought her own voice and feel to each track. Don't misunderstand - the tribute to Billie is unmistakable. Other vocalists would have possibly attempted to portray Billie and it would have been a parody in my opinion.<p>Favorite tracks? That is subjective, of course, but ironically, my favorites here are the same as my favorite Lady Day songs, and especially What a Little Moonlight Can Do, Miss Brown to You, and God Bless The Child.<p>For my fellow die hard fans and musicians, here is the list of personnel: on Trav'lin Light, Don't Explain, If the Moon Turns Green, I Hear Music, Lover Come Back to Me and Crazy He Calls Me all feature Al Porcino, Ray Triscari, John Anderson, jr. and Jack Sheldon on trumpet, with Stu Williamson, Frank Rosolino, Dick Nash and L. MacCreary on trombone. Saxophonists are Joe Maini and Chuck Gentry. The rhythm section is comprised of Russ Freeman on piano, Buddy Clark on bass, Mel Lewis on drums (with Larry Bunker on additional percussion) and Al Viola on guitar.<p>The rest of the tracks feature Barney Kessel on guitar, Don Fagerqust on trumpet, Ben Webster on tenor saxophone, Jimmy Rowles on piano, Mel Lewis on drums and Buddy Clark on bass. From the album:<br /><center><object width="560" height="315"><param name="movie" value="http://www.youtube.com/v/ty3NelD29ac?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ty3NelD29ac?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="560" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>This is by no means my last post about Anita. I will, however, not space future posts so far apart, but will not flood this blog with a cluster of them either.<p>I will end this one with two things:<ol><li>A promise to cover some of her big band years next</li><li>Two parting videos</li></ol><center><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/E5GWkBOPJQ8?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/E5GWkBOPJQ8?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object><br /><object width="420" height="315"><param name="movie" value="http://www.youtube.com/v/yiW0ANvFpKA?version=3&amp;hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/yiW0ANvFpKA?version=3&amp;hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object></center><p>This post honor's one of Anita's staunchest fans and expert: Patrick O. Moore.<br /><br /><br /><br />Mike Tarranihttp://www.blogger.com/profile/00913542775337600817noreply@blogger.com0